Scales Over Chords Cd Download

Take the chord CMaj7. It can be derived both FROM the key of C Major and G Major (C Lydian). Another way of saying this is that all the notes in the chord CMaj7 can be found in both the C Major Scale and the G Major Scale. Therefore you can use both scales to improvise over this chord.

Over the next few lessons we will cover a number of commonly used Jazz Scales. We will learn how they are derived and the chords they are associated with. But now we know why we can use many different scales over a single chord, and this knowledge will help us analyse the upcoming scales. In the mean time, below is a selection of scales that can be used over particular chords, precisely because they share the root, 3rd and 7th of the chord.

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We have made it all of the way to step five: Start playing those patterns over chords. This one step is so very important. Anyone can memorize a bunch of scale patterns, but using them and making them sound great is a whole different story.

The first thing I teach them is which note is the strong note (tonic) of the scale. We slide that pattern up until the tonic note is the same as the strong note (root) of the chord. At that point, the scale pattern is ready to play over the chord.

With more complicated chord progressions and even key changes, moving forward from here can be difficult. So lets find out the different situations you may find yourself in, and the ways to approach playing over different chords.

The easiest way to make this scale is to take the major scale and lower the seventh note by one fret (half step). ( in the key of C the seventh note would be a B. You would lower that note one step to Bb. Now your C mixolydian would have the notes C D E F G A Bb C. That would fit perfectly over a C7 chord.)**

Say you are playing in the key of D and you need to play over a C chord. Well that C chord is common in a lot of songs in the key of D

The major 7 scales above can also be played over a C major 6 chord (C E G A) - which is practically the same chord, it just has a 6th instead of the 7th.

Dominant 7 chords have the most options when it comes to jazz scales, and jazz musicians will play lots of altered notes over V7 chords - like the b9, #9, #11, b13.

IMPORTANT: Note that there are two types of diminished scale - both scales follow an alternating half-step / whole-step pattern. However one starts with a half-step (and then a whole-step) - whereas the other starts with whole-step (and then half-step).

Next, choose a song in your real book and play through the chords in your left hand. In your right hand, play up and down the correct scale (this will train you to build these scales from a range of notes).

Soloing by Key is the easiest method of soloing because you treat the entire song as one entity. This is done by selecting a scale that works over the entire key and only playing its notes. It really is that simple.

Selecting a scale is done by selecting a scale that uses the notes of the key because the chords should also use those notes. Usually, this is the major scale. For example, use the C Major scale for the key of C. You can substitute the major pentatonic scale for the major scale because all its notes are part of the major scale. If you have a minor key, you can use the minor scale or the minor pentatonic scale. For example, use the A minor scale for the key of A minor.

Keys rarely change within a song, but chords change often. The most interesting soloists change their soloing strategy based on the chord rather than the key. I will explain a few methods that work well for chord soloing.

Similar to soloing over a key, you can use the major and minor scales to solo over chords. The major scale can be used over major chords, and the minor scale can be used over minor chords. Both scales, however are considered modes using the names, Ionian and Aeolian respectively.

Soloing is mostly about knowing what notes to play. We simplify the process by using scales, modes, and arpeggios. I recommend recording some chord progressions and practicing your improvisation. You can get some chord progression ideas from my chord progressions lesson.

Also, those same pentatonic shapes can be used for all of the minor chords that are diatonic to the key, the ii, iii and vi, where ii is the relative minor of IV, ii the relative minor of V and vi the relative minor of I. Skip the VII.

I recently set out to expand my knowledge and began to learn about modes and other scales, and worked hard to memorize all 7 patterns, along with the 7 Pentatonics that are connected to these. Turns out, my made up scale is just pieces from 3 separately linked Pentatonic scales.

Thanks for the question. 1. Play A minor scale over the Am chord and E major scale over the E chord (pentatonics are an option here too). 2. You could play A minor pentatonic over the entire progression, but try playing F# instead of G when you hit the E major chord. This type of simple substitution is sometimes helpful for wrapping your head around a good strategy. This one may make more sense if you list out the notes of each chord and the notes of the Am pentatonic scale. I hope this helps!

I do appreciate your talent, knowledge and the opportunity to ask a question.

i am attempting to solo over chord progressions and target the chord tones during the changes with appegios as well, but then I see video teachers who say just play the root scale over the entire progression. Which is the best way to practice and be original without losing momentum,?

Thank you for any input

This may seem a very simple and basic question. I think you have answered it in your response to comments and in the article.

It concerns improvisation over, say, a 12 bar blues. So, for example in the key of A, the sequence of chords would be AAAA DDAA EDAA or the very last chord could be E as a turnaround. Now if, say, the A minor pentatonic scale was used for the lead, then because the key of the piece is A, the lead would commence with the note of A because it is the root note (and ideally finish with the root note).

My question arises because I have read that if you play any notes from the A minor pentatonic scale over this progression, after the initial key note, it will sound ok and you cannot really play a wrong note.

So, do you play any note after the root or do you have to play the note of the first chord of the bar. In other words, for example, at the start of the 5th bar, do you play a D note? I have looked at music describing riffs and licks and that seems to be what is happening. However, I have also seen musical pieces which after the initial note of the key, A in this case, other notes are used at the beginnings of each bar, although sometimes the leading note of the bar is the same as the chord. If the note at the beginning of each bar has to be the note of the chord, then the improvisation is really only on the 2nd, 3rd and 4th notes of the bar assuming 4/4 time.

Thanks.

Thank you, Patrick. So, playing over the progression is really down to individuality. I was coming round to that thought as I delved into this topic more deeply. I am a bit set in my ways, being old, and with a science background where I am looking for rules and proof of those rules! I need to change my thinking! Thanks again and keep up the great work on the teaching and writing. Much appreciated.

Looking at chord tones and the chords themselves is probably a better approach in this circumstance. So, if you are playing in C major, and a Gm7 chord appears, you could simply play a phrase from a Gm7 arpeggio. Or, you could stay in C major and be more careful about the notes you choose...for example, a Gm7 chord contains the notes G-Bb-D-F, three of which (G,D,F) are in the C major scale - so you could play those notes from C major, and make sure to avoid the B note in C major (which might not sound the best in this context). Or, you could play the Bb note instead of the B note in C major while the Gm7 plays. C major scale notes over the Gm7 chord also imply different tensions, for example, if you played an A note from C major, that would imply a Gm9 chord. As long as you know what you are doing, feel free to be weird...that's jazz.

I'll describe one method that can work when you're in a pinch. However, the effectiveness of this method depends on how familiar one is with the main parent scales (major, melodic minor, harmonic major, and harmonic minor). If the method I've described fails, then the sure-fire way to get an answer is simply to look it up online or in a theory book. I say that as a real suggestion: looking up the answer isn't counterproductive in the long-term, because the ultimate goal (from a performance and practice perspective) is to memorize the modes that match which each chord. The downside, obviously, is that you can't do this on a gig. So here's an imperfect but still pretty good method that often works.

As you can see, the effectiveness of this approach will depend on how familiar one is with the major, melodic minor, harmonic major, and harmonic minor scales. Ultimately, the goal is to not have to think at all--in effect, to memorize which modes pair up with which chords. In a pinch, though, this method can work without taking too much time.

If you check out the circle of 5th you should be grand in finding out what keys to use. Such as the relative minor to the chord you are using. Even the relative 5th. If you have a C major chords you can use the 5th note in the scale and play the G major scale over it or even the G minor Pentatonic scale. There is also the obvious C major and C minor pentatonic scale. See this link: _of_fifths 006ab0faaa