Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
What is some good scales to play over the following Chord progressions: Am, Cmaj, Dm, Emaj (i play A Melodic Minor (Descending) Scale but dont get a good improv sound from it. And Em, Am, Cmaj, Bmaj(bar chords) (same as above only in E Melodic Minor (Descending) Scale
Im looking for a Spanish/Middle eastern sound? If you guys can maybe tell me the exact scale to play over it cuz my theory is abit limited.
I would really appreciate a response Thanks! Reinhardt
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: 2 Chord Progressions... (in reply to Reinhardt)
quote:
ORIGINAL: Reinhardt
What is some good scales to play over the following Chord progressions: Am, Cmaj, Dm, Emaj (i play A Melodic Minor (Descending) Scale but dont get a good improv sound from it. And Em, Am, Cmaj, Bmaj(bar chords) (same as above only in E Melodic Minor (Descending) Scale
Im looking for a Spanish/Middle eastern sound? If you guys can maybe tell me the exact scale to play over it cuz my theory is abit limited.
I would really appreciate a response Thanks! Reinhardt
First one A natural minor relates the first 3 chords, then you have A harmonic minor with the raised 7th. Avoid A melodic minor with raised 6 for now.
The second one is the same concept in E minor. Raised 7th only on the B chord (D# note is your target).
But to do a nice melodic thing over the chords, it is better to focus on each chord as a separate entity. It is more advanced concept too. So get comfy with the above idea first. Then try:
A Aeolian or Dorian (ABCDEFG, or ABCDEF#G) C Ionian, or lydian, or mixolydian (CEFGAB, CEF#GAB, or CEFGABb) D aeolian or Dorian (DEFGABb, or DEFGAB) E phrygian dominant (EFG#ABCD)
There are some more advanced concepts that can be applied, and you can mix up those scales in each chord as long as you have enough rhythmic TIME to do it. The E progression is actually different unless you made a mistake.
E aeolian or dorian (EF#GABCD, or EF#GABC#D) A aeolian or dorian (see above) C lydian or lydian dominant (CEF#GAB, or CEF#GABb) notice the second scale is a mix of the lydian and mixolydian from earlier. That one has a nicer pull to B chord up next. B phrygian dominant (BCD#EF#GA)
The lydian dominant scale is the 4th mode of melodic minor. So you are using the G melodic minor over the C chord.
Now if you did the same progression in A (not what you wrote earlier) you could use F lydian dominant to resolve to E phyrgian. I was gonna write that as a sub for your Dminor chord, but thought to wait in case you did mean 2 DIFFERENT type of progressions as you wrote.
Wow thx for the reply guys, Didnt i mention i was abit limited on my theory? but screw that i need to learn this stuff! This is called "understand modes" right?
RE: 2 Chord Progressions... (in reply to Reinhardt)
Ubderstood. that's why i just suggest playing the phrygian starting with the root note at the root chord. In A, start phrygian with A as tonic, etc. Not nearly as deep or educated as some of the other great posts. But a simple place to start.
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread