Using the parrallel minor works, and can be very cool, but there has to be certian factors in place for it to work well, it's not a garauntee.
I don't get this stuff
There is a lot of Van morrison songs that are composed of maj. 1 4 5 progressions...yet when a parrallel blues / minor penta is used to solo with it sounds very wrong. Same holds true w/country music and songs of that flavor.
Using the parrallel minor works, and can be very cool, but there has to be certian factors in place for it to work well, it's not a garauntee.
Using the parrallel minor works, and can be very cool, but there has to be certian factors in place for it to work well, it's not a garauntee.
# 1
Of course not, there is never a guarantee to what should be played and what should not be played. The exact reason why the ear is the forerunning judge in music. I would be wrong to say that everytime a harmony is played, a contrasting melody must be played as well. Having a note sound wrong in a melody is more the cause of incorrect harmony, rather than melody. It is possible to change it without effecting the key, even if the melody is contrasting.
Having the melody sound wrong has little to do with what scale you choose. A scale is nothing more than a tonality, like major is a bright sound, while minor is a sadder sound. You can notice this if you play several different scales over a chord, the texture and over-all effect of the music changes. In music, at least two contrasting but complimenting things have to go on at the same time. Unison of harmony and melody in a composition should go through different phrases as the music progresses. If not, say staying linear or too similar, the music will become boring. Having a good and convincing contrasting melody over a harmony and doing so without making mistakes takes a good ear, and alot of practice, and a good bit of knowledge about theory, particular voicings.
Mistakes are made when your expressing an idea with the wrong tonality. Each scale over a harmony is equal to a different expression, so it is important to choose the right one. Choose the wrong one and the expression is either weak, or like you said 'sounds wrong'. You definitely wouldn't try to write something happy by playing a minor scale over a major harmony. Even though most ideas can be expressed using similar melody and harmony, most can be expressed even better using contrasting. Although it is evenly correct to be contrasting and similar. The factor is interest and expression.
[Edited by noticingthemistake on 02-16-2004 at 12:02 PM]
Having the melody sound wrong has little to do with what scale you choose. A scale is nothing more than a tonality, like major is a bright sound, while minor is a sadder sound. You can notice this if you play several different scales over a chord, the texture and over-all effect of the music changes. In music, at least two contrasting but complimenting things have to go on at the same time. Unison of harmony and melody in a composition should go through different phrases as the music progresses. If not, say staying linear or too similar, the music will become boring. Having a good and convincing contrasting melody over a harmony and doing so without making mistakes takes a good ear, and alot of practice, and a good bit of knowledge about theory, particular voicings.
Mistakes are made when your expressing an idea with the wrong tonality. Each scale over a harmony is equal to a different expression, so it is important to choose the right one. Choose the wrong one and the expression is either weak, or like you said 'sounds wrong'. You definitely wouldn't try to write something happy by playing a minor scale over a major harmony. Even though most ideas can be expressed using similar melody and harmony, most can be expressed even better using contrasting. Although it is evenly correct to be contrasting and similar. The factor is interest and expression.
[Edited by noticingthemistake on 02-16-2004 at 12:02 PM]
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 2
Yes I know.
All I'm trying to say is that there is times when it is appropiate to use a parrallel minor, and times when there is not. For a beginner, a good rule of thumb is to follow the scale that the singer is singing the melody in.
2nd..if there is a minor chord (2,3,0r 6)in the progression, using the parrallel minor again will be tricky. An advanced player could pull this off, but to a novice it will probably seem like an incorrect scale to use.
Take the GnR song November Rain for instance...applying a parrallel minor over top this progression would be impossible for most novice musicians. An advanced player could pull it off...but it would probably sound too jazz/fusion(y) for the average listeners taste. So, therefore it would be innapropiate to use a parallel minor in this specific circumstance.
So, fellow guitarists, when considering the use off a parrallel minor pentatonic for a guitar solo over a major progression take into consideration song style (rock, classic rock, reggae, country, country folk rock {Eagles or Jackson Brown}jazz, R&B, HipHop, etc..), tempo, feel, melody, bass line, etc..
parrallel minor is used a lot in the styles of modern / alternative rock, Blues rock, blues, and Funk.
All I'm trying to say is that there is times when it is appropiate to use a parrallel minor, and times when there is not. For a beginner, a good rule of thumb is to follow the scale that the singer is singing the melody in.
2nd..if there is a minor chord (2,3,0r 6)in the progression, using the parrallel minor again will be tricky. An advanced player could pull this off, but to a novice it will probably seem like an incorrect scale to use.
Take the GnR song November Rain for instance...applying a parrallel minor over top this progression would be impossible for most novice musicians. An advanced player could pull it off...but it would probably sound too jazz/fusion(y) for the average listeners taste. So, therefore it would be innapropiate to use a parallel minor in this specific circumstance.
So, fellow guitarists, when considering the use off a parrallel minor pentatonic for a guitar solo over a major progression take into consideration song style (rock, classic rock, reggae, country, country folk rock {Eagles or Jackson Brown}jazz, R&B, HipHop, etc..), tempo, feel, melody, bass line, etc..
parrallel minor is used a lot in the styles of modern / alternative rock, Blues rock, blues, and Funk.
# 3
I agree with most of what your saying, but I think your skeptical on ideas for the wrong reasons. Although it is a advanced subject as I stated before.
What's tricky about it?? When this idea is used in music, the harmony and the melody are two separate ideas that play opposite but share some common idea, like counterpoint. As long as the melody progresses like it normally would. Meaning it can stand alone, have a singing tune, and be musical. The harmony is only a contrast and has little effect on the melody. When it does, it's not hard to quickly resolve the unwanted dissonance by moving up a step (b3-3, b5-5, or b7-7) or better remedy the harmony. Like I said it does take a lot of practice and some theory, but it's not difficult.
Often when this idea is used, the harmony is somewhat altered. In a major key the IIIm is usually bIII, and the VIm is sometimes bVI. Most rock music uses these chords anyways. Same with the VII chord which is altered as bVII. I don't know what's wrong with the IIm chord?? These are very common in rock music but in the end they don't alter the key, it's still major.
Why inappropriate? If it can be done, it's not inappropriate. The theme of November rain would support such a move, it is a sad song (that rocks BTW). Hearing someone do so and succeed competently would be very interesting. Like several great artists (michangelo, van gough, monet) all painting the same picture in their own style. This would ultimately be personal choice.
To add to chris’s suggestion on the use of this idea. Any musician new to the idea should first be comfortable with playing scales to the same key before ever trying to play against it. Generally the task should be taken to those that are looking to expand and try different things, rather than those just picking up the guitar. Better results are achieved by either writing the melody first, or with just a bass line. Since a bass line can suggest several different chords, it is easier then to find what chords should be used. Those familiar with part writing will understand.
What's tricky about it?? When this idea is used in music, the harmony and the melody are two separate ideas that play opposite but share some common idea, like counterpoint. As long as the melody progresses like it normally would. Meaning it can stand alone, have a singing tune, and be musical. The harmony is only a contrast and has little effect on the melody. When it does, it's not hard to quickly resolve the unwanted dissonance by moving up a step (b3-3, b5-5, or b7-7) or better remedy the harmony. Like I said it does take a lot of practice and some theory, but it's not difficult.
Often when this idea is used, the harmony is somewhat altered. In a major key the IIIm is usually bIII, and the VIm is sometimes bVI. Most rock music uses these chords anyways. Same with the VII chord which is altered as bVII. I don't know what's wrong with the IIm chord?? These are very common in rock music but in the end they don't alter the key, it's still major.
Why inappropriate? If it can be done, it's not inappropriate. The theme of November rain would support such a move, it is a sad song (that rocks BTW). Hearing someone do so and succeed competently would be very interesting. Like several great artists (michangelo, van gough, monet) all painting the same picture in their own style. This would ultimately be personal choice.
To add to chris’s suggestion on the use of this idea. Any musician new to the idea should first be comfortable with playing scales to the same key before ever trying to play against it. Generally the task should be taken to those that are looking to expand and try different things, rather than those just picking up the guitar. Better results are achieved by either writing the melody first, or with just a bass line. Since a bass line can suggest several different chords, it is easier then to find what chords should be used. Those familiar with part writing will understand.
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 4
Originally posted by noticingthemistake
What's tricky about it?? When this idea is used in music, the harmony and the melody are two separate ideas that play opposite but share some common idea, like counterpoint. As long as the melody progresses like it normally would. Meaning it can stand alone, have a singing tune, and be musical. The harmony is only a contrast and has little effect on the melody. When it does, it's not hard to quickly resolve the unwanted dissonance by moving up a step (b3-3, b5-5, or b7-7) or better remedy the harmony. Like I said it does take a lot of practice and some theory, but it's not difficult.
- There's a little thing called phrasing which can take years to develop. The old analogy: It's not what you say but how you say it...makes the difference between the professional and the novice. What you stated in the above paragraph can take years to accomplish with efficiency and conviction.
Often when this idea is used, the harmony is somewhat altered. In a major key the IIIm is usually bIII, and the VIm is sometimes bVI.
- I don't consider this Major scale harmony. To me this is taking a Pentatonic scale and building major chords off the notes within the scale. These progressions are desinged to be shredded to pieces by minor pents.
Most rock music uses these chords anyways. Same with the VII chord which is altered as bVII. I don't know what's wrong with the IIm chord?? These are very common in rock music but in the end they don't alter the key, it's still major.
- Applying the parrallel minor over top of the 2 chord can be tricky...the #9 of the pentatonic is a flat 2nd to the minor ii. There is no root of the ii within the pent. to resolve to, again making this a sticky situation for novice.
Why inappropriate? If it can be done, it's not inappropriate.
- What can I say, I guess this comes w/age...there is a time and a place for everything. The older I get the more "authentic" I become in my playing.
.
# 5
It would be interesting to hear jleraans POV on what his experience was on using the parrallel minor pentatonic over top of the major chord progression.
# 6
OK, I'm gonna test it now! Hold on.
- Allright, listen to this. I recorded a chord progression to a drum track. Chords go: C - F - G. Looped over and over. Then I did this:
1) Recorded a solo over it using C minor pentatonic (which I didn't have any expectations for)
2) Recorded a new solo using the C major scale
Now, we have to consider the fact that I know the pentatonic scale 100 times better than the major scale, but I tried anyway. I just played something more or less on the fly (I did a few takes and chose the best one).
What surprised me was that the C minor solo didn't sound out of tune, actually. It sounded ... different. I can't explain it.
And the C major solo matched better with the notes of course. It sounded more like ONE thing, whereas the C minor pentatonic one sounded very differently.
If you want, you could have a listen (very unpretentious stuff) :
Right-click and choose 'Save as...':
http://vintersen04.tripod.com/cmajsolo.mp3
and
http://vintersen04.tripod.com/cminpent.mp3
- Have in mind that I'm no shredder. I just try to get a good sound. And this was just an experiment to test the theory material.
[Edited by jleraan on 02-17-2004 at 06:47 AM]
- Allright, listen to this. I recorded a chord progression to a drum track. Chords go: C - F - G. Looped over and over. Then I did this:
1) Recorded a solo over it using C minor pentatonic (which I didn't have any expectations for)
2) Recorded a new solo using the C major scale
Now, we have to consider the fact that I know the pentatonic scale 100 times better than the major scale, but I tried anyway. I just played something more or less on the fly (I did a few takes and chose the best one).
What surprised me was that the C minor solo didn't sound out of tune, actually. It sounded ... different. I can't explain it.
And the C major solo matched better with the notes of course. It sounded more like ONE thing, whereas the C minor pentatonic one sounded very differently.
If you want, you could have a listen (very unpretentious stuff) :
Right-click and choose 'Save as...':
http://vintersen04.tripod.com/cmajsolo.mp3
and
http://vintersen04.tripod.com/cminpent.mp3
- Have in mind that I'm no shredder. I just try to get a good sound. And this was just an experiment to test the theory material.
[Edited by jleraan on 02-17-2004 at 06:47 AM]
# 7
Yes...the chord progression C, F, & G will work fine.
But now try it utilizing the chord progression you were original gonna do from your post;
C G Amin F
The addition of the minor chord will pull more towards a major scale sound. A C blues scale will still work over this progression but the results may not be as instantaneous.
[Edited by chris mood on 02-17-2004 at 09:01 AM]
But now try it utilizing the chord progression you were original gonna do from your post;
C G Amin F
The addition of the minor chord will pull more towards a major scale sound. A C blues scale will still work over this progression but the results may not be as instantaneous.
[Edited by chris mood on 02-17-2004 at 09:01 AM]
# 8
Here's is how and why the C minor pentatonic works over the C, F, & G progression.
The pentatonic scale is the precursor to the blues scale. The african-american slaves took the the pentatonic scale and added an extra note to it, known as the blues note the scale became the blues scale.
C minor penta......C Eb F G Bb C
C blues scale......C Eb F F# G Bb C
To create the deep, dark sound known as the blues, the slaves applied this scale over top of an all Dominant 1 4 5 progression (C7, F7, & G7).
A dominant chord is sort of a hybrid chord...half major, half minor. For a technical explanation the dominant chord is a major triad with an added minor 7th. So if we remove the 7th, or for a better explanation reduce the dominant chord to a triad we are left with the progression C, F, & G..the major 1 4 5 progression.
So...the 1 4 5 progression can be approached 2 ways, as a Major progression or as a Blues progression.
The pentatonic scale is the precursor to the blues scale. The african-american slaves took the the pentatonic scale and added an extra note to it, known as the blues note the scale became the blues scale.
C minor penta......C Eb F G Bb C
C blues scale......C Eb F F# G Bb C
To create the deep, dark sound known as the blues, the slaves applied this scale over top of an all Dominant 1 4 5 progression (C7, F7, & G7).
A dominant chord is sort of a hybrid chord...half major, half minor. For a technical explanation the dominant chord is a major triad with an added minor 7th. So if we remove the 7th, or for a better explanation reduce the dominant chord to a triad we are left with the progression C, F, & G..the major 1 4 5 progression.
So...the 1 4 5 progression can be approached 2 ways, as a Major progression or as a Blues progression.
# 9
Great stuff, chris mood.
"C Eb F G Bb C". As these are the notes of the C minor pentatonic scale, I thought that scale wouldn't sound any good over any C major chord progression, as the Eb and Bb aren't present in the C major scale.
You know, I've had a plan for quite a while now. Just try to create a little song, which starts very dark and minor sounding. Then half way through, change the mood completely, and make it as major as possible - well, more or less. Just to explore how things get to sound minor and major, and to hear the constrasts.
Imagine a very heavy death metal song, and when it comes to the guitar solo, it appears to be an extremely happy solo, then as the solo is finished, the songs continues in its dark and gloomy direction again.
Not a revolutionary idea, I know, but I haven't tried it before myself. I think it sounds interesting, maybe I'll create something already tonight.
"C Eb F G Bb C". As these are the notes of the C minor pentatonic scale, I thought that scale wouldn't sound any good over any C major chord progression, as the Eb and Bb aren't present in the C major scale.
You know, I've had a plan for quite a while now. Just try to create a little song, which starts very dark and minor sounding. Then half way through, change the mood completely, and make it as major as possible - well, more or less. Just to explore how things get to sound minor and major, and to hear the constrasts.
Imagine a very heavy death metal song, and when it comes to the guitar solo, it appears to be an extremely happy solo, then as the solo is finished, the songs continues in its dark and gloomy direction again.
Not a revolutionary idea, I know, but I haven't tried it before myself. I think it sounds interesting, maybe I'll create something already tonight.
# 10
Ok, yeah phrasing is something that has to be developed. In the natural minor over a major, I think your looking to deep for notes in the scale that will be off with the chord progression. You say the A minor chord in the chord progression I wrote will sound wrong. Take the notes of the C minor pent and the two different are the b3 and the b7. The b3 is the diminished 5th of an A minor chord, or the blues note. The b7 is a minor 2nd of A, but this tone doesn't sound bad over a minor chord because it is phrygian note (similar minor tonality). Also, in reharmonization wouldn't the A minor chord be a sensible substitute for the C major chord??
[Edited by noticingthemistake on 02-17-2004 at 10:03 AM]
[Edited by noticingthemistake on 02-17-2004 at 10:03 AM]
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 11
Jleraan, you right if is applied it shouldn't sound off, and anything that sounds off is pretty easy to remedy. Playing the major pent over a major pent does sound more in unison, giving th quote "playing with the harmony". While playing the minor pent over a major progression does dound contrasting, giving the quote "playing against the harmony". Just in case you ever hear those terms again, you'll know what they mean.
Death metal with happy solos = In flames "lol" don't get me wrong I love this band, but there solo always seem happy. Some of their songs too, especially over the last few years.
Death metal with happy solos = In flames "lol" don't get me wrong I love this band, but there solo always seem happy. Some of their songs too, especially over the last few years.
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 12
Thanks. I think I understand noticing...
And for In Flames, heh, well they're extremely melodic, aren't they. Especially for a death metal band.
But I mean, I once watched a video of a band, Six Feet Under I think. They had one heavy song. Imagine such a song, with a sweet neat happy-happy solo. That would be very strange. But fun.
- Allright, one more thing. Listen up. Let's say we have a chord progression, still in C major. Well, now, what if we choose some notes to solo with. All the notes are NOT in the C major scale. When we play the solo, could we still say that we are "playing against the harmony", or are we just playing a bunch of WRONG NOTES? I mean, say there is a man - not very good of a guitar player - who's soloing. He's using lots of out of key notes. You say:
"Hell, why don't you play something real, not just a bunch of false notes?"
Answer: "Well, I enjoy playing against the harmony, do you have a problem with that?"
(I mean, he's playing VERY out-of-key, and it sounds bad.)
Would you support him? Suppose you wouldn't, but I just want to to comment this situation with a few words.
[Edited by jleraan on 02-17-2004 at 10:30 AM]
And for In Flames, heh, well they're extremely melodic, aren't they. Especially for a death metal band.
But I mean, I once watched a video of a band, Six Feet Under I think. They had one heavy song. Imagine such a song, with a sweet neat happy-happy solo. That would be very strange. But fun.
- Allright, one more thing. Listen up. Let's say we have a chord progression, still in C major. Well, now, what if we choose some notes to solo with. All the notes are NOT in the C major scale. When we play the solo, could we still say that we are "playing against the harmony", or are we just playing a bunch of WRONG NOTES? I mean, say there is a man - not very good of a guitar player - who's soloing. He's using lots of out of key notes. You say:
"Hell, why don't you play something real, not just a bunch of false notes?"
Answer: "Well, I enjoy playing against the harmony, do you have a problem with that?"
(I mean, he's playing VERY out-of-key, and it sounds bad.)
Would you support him? Suppose you wouldn't, but I just want to to comment this situation with a few words.
[Edited by jleraan on 02-17-2004 at 10:30 AM]
# 13
NTM..the thing that could throw a novice player w/using the Cminor pentover Aminor is that there's no chord tones to resolve the b2 & b5 too...again, if not phrased properly this could sound quite wrong.
J..if someone was playing "wrong" notes just to play "wrong" notes I would probably smack him and then destroy his guitar. -Lol- In the end you really learn there is no such a thing as a wrong note, it's all how you approach and phrase it...check out John Scofield some time. But again, it's all about playing what's appropiate for the song.
J..if someone was playing "wrong" notes just to play "wrong" notes I would probably smack him and then destroy his guitar. -Lol- In the end you really learn there is no such a thing as a wrong note, it's all how you approach and phrase it...check out John Scofield some time. But again, it's all about playing what's appropiate for the song.
# 14
Originally posted by chris mood
[B]NTM..the thing that could throw a novice player w/using the Cminor pentover Aminor is that there's no chord tones to resolve the b2 & b5 too...again, if not phrased properly this could sound quite wrong.
b2-3, or Bb to C over a A minor chord. b5 to natural 5, which as I said any unwanted dissonance could be remedied by resolving a half step (up) to a consonant note. Even if you wanted the root, since the minor pent doesn't have a 6th tone. It's not an alteration to just add the 6th tone. This same problem occurs even when you just use I IV and V. Take the V chord and use a blues scale, in the blues scale the 7 is b7. This would cause problems for the V chord, since the b7 is suggesting a minor V chord. The same remedy works for both, which would be to resolve the b7 to 7, or over the V chord, b3-3. This is true in all altered scales.
Jleraan, if someone did come up and say that. I would do the same as chris and help in destroying their guitar. lol it is true there is no such thing as a wrong note. Wrong notes don't occur because of the conflicts between harmony and melody, but instead the melody or harmony individually playing the wrong note.
Playing against the harmony is not playing wrong notes just to play wrong notes. When playing against the harmony, it is very important to choose the right scale for what you want to do. I did not intend this to be suggestive towards a novice musician. Actually I only brought it as an example to Dream that every possible note has been played in a solo (Pg.2).
If you were to play a scale with no note in common with the harmony, say D# pent. minor over C major you would run into phrasing problem out the bunghole. This is why I say you better have a good grip on playing with the harmony before you try to play against it. The reason is you know where to go if you run into a problem. It can be done, but I would definitely agree with chris here, no novice should ever attempt this. 99.9% of the time it will sound completely wrong because of phrasing, and the end result will look more like the chromatic scale rather than the minor pent.
When it comes to playing scales over a harmony, it is important to keep the root the same. Then it becomes more a question of tonality, then phrasing. Although phrasing can still be a problem in some cases, the step-wise resolve corrects such problems.
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 15
Originally posted by noticingthemistake
b2-3, or Bb to C over a A minor chord. b5 to natural 5, which as I said any unwanted dissonance could be remedied by resolving a half step (up) to a consonant note. Even if you wanted the root, since the minor pent doesn't have a 6th tone. It's not an alteration to just add the 6th tone. This same problem occurs even when you just use I IV and V. Take the V chord and use a blues scale, in the blues scale the 7 is b7. This would cause problems for the V chord, since the b7 is suggesting a minor V chord. The same remedy works for both, which would be to resolve the b7 to 7, or over the V chord, b3-3. This is true in all altered scales.
[/B]
I know this, but a beginning player who is just thinking of the scale as a pattern and not as individual notes and how they relate to the harmony is not going to realize this.
Melody is still the key to what is going to sound good for use of a guitar solo. For instance, in this one band I play with we do this old Sam Cooke tune (Bring it on Home...and no, not the zeppelin tune)which is nothing more then I7 V7 I7 IV7 I7 IV7 V7 I7 IV7 I7 V7..just a variation of a 8 bar blues. The major 3rd and 6th are so predominant in the melody that if you come in with a minor blues scale for the solo it sounds like your playing a whole different song then the rest of the band, and not in a good way. Now, I figured a way of utilizing the minor blues scale within the solo by 1st beginning the solo w/the major pent and throwing in hints of the minor by playing phrases consisting of the b3 resolving to the maj3, and b7 resolving to 6. By about the 3rd chorus it is possible to slam into a down and dirty blues solo consisting entirely of minor blues, and it sounds cool when the singer comes back in with the major melody again. Anyway, my point being, that I find from experience that the melody of the song is going to dictate the flavor of the guitar solo.
# 16
Sometimes, but it doesn't have to. It is possible to have the solo completely contrasting from the melody the singer laid down, and make the change rather quickly. Example. Take the chord progression you have up their and have the singer sing to one particular melody. Now the measure before the solo enters, punctuate on a weak beat (say it's in 9/8, stop on 7). On 9 come back in with the same harmony, but kick in a solo in a different tonality as discussed before. Even speed it up a bit. Then have the bass and drums do a 2 bar bridge solo back to the part where the singer goes back to doing his/her thing (chorus line is the most powerful).
Yes it is coherently normal to have the melody that the singer lays down lend hints to what the solo is going to be like, or just have the solo work around the melody the singer uses. The gradual approach as you explained is very effective, but so is a complete change in a split second.
There are no laws governing how the solo should sound in a song. Although following a few to keep a context is exceptionally adequate. An important rule with melody is it has to have a singing tune. But a singing tune from one part of the song (chorus), doesn't have to be the same or anything close to another part of the song (solo). Other factors can tie it together such as harmony, or rhyhtm. The problem is always how to go from one melodic theme to another convincingly.
Another way to hint at a change of major to minor is the supply it will some motives in a relative minor. If the harmony is running in C major, add small A blues minor licks in there. Especially when A is one of the chord tones. Even though the b3 of major and b5 of minor are the same notes. I'm sure you know the b3 resolves to 3 and pulls back to C, while the b5 resolves to 5 and pulls back to A.
Yes it is coherently normal to have the melody that the singer lays down lend hints to what the solo is going to be like, or just have the solo work around the melody the singer uses. The gradual approach as you explained is very effective, but so is a complete change in a split second.
There are no laws governing how the solo should sound in a song. Although following a few to keep a context is exceptionally adequate. An important rule with melody is it has to have a singing tune. But a singing tune from one part of the song (chorus), doesn't have to be the same or anything close to another part of the song (solo). Other factors can tie it together such as harmony, or rhyhtm. The problem is always how to go from one melodic theme to another convincingly.
Another way to hint at a change of major to minor is the supply it will some motives in a relative minor. If the harmony is running in C major, add small A blues minor licks in there. Especially when A is one of the chord tones. Even though the b3 of major and b5 of minor are the same notes. I'm sure you know the b3 resolves to 3 and pulls back to C, while the b5 resolves to 5 and pulls back to A.
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 17
I see your point, but listen. Let's say there is this guitar solo in A minor. It lasts about 30 seconds. Halfway through the guitarist - who is quite new to the guitar, by the way, and knows no theory - plays several notes outside the scale, unconsciously (he doesn't know how they sound against the backing chords), then he plays the last part pretty much spot on, except for another few notes outside the scale he hit, that he didn't plan to.
Come on, THIS is an example of a man playing wrong notes. Just say "yes"! I see that from a professional musicians point of view, there might not be a 'wrong' note, but for a new beginner, there sure is. He accidentally played something he didn't plan to, and he didn't know how it would resolve to the rest, thus I'd say he played several wrong notes.
I just want you to say "Yes, in that situation, I'd say 'wrong notes' were played".
Come on, THIS is an example of a man playing wrong notes. Just say "yes"! I see that from a professional musicians point of view, there might not be a 'wrong' note, but for a new beginner, there sure is. He accidentally played something he didn't plan to, and he didn't know how it would resolve to the rest, thus I'd say he played several wrong notes.
I just want you to say "Yes, in that situation, I'd say 'wrong notes' were played".
# 18
# 19
Yes. If it sounds wrong, it is wrong. I won't confuse you any more. ;)
"My whole life is a dark room...ONE BIG DARK ROOM" - a.f.i.
# 20