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figuring out a solo line over unusual chords

1K views 8 replies 8 participants last post by  adamk 
#1 ·
I'm working on a tune that has some unusual changes [at least for me] in the solo section and I'm wondering if anyone can suggest a scale that would work over all the changes. I'm working slowly on playing the chords vertically to get the sound in my ears but I want to be lyrical when soloing.

The changes: over 3 bars in 4/4, tenor key - E7alt FMaj7/FMaj7 E7alt/FMaj7 E7alt - given that each chord as noted is over 2 beats each time - hope that makes sense at 135 tempo for 1/4 note and those three bars resolve to a Dm11 for the next three bars.

Any suggestions here welcome.
 
#2 ·
A quick idea is to look for notes in common between both scales, supposing they are E altered and F ionian.
So those are E-F-G-Bb-C-D. Play with them.
G-Bb-C-D-F are G minor pentatonic.
If you add E, which is the 6 you can maybe use some 2 5 language outlining G-7 C7( 25 of F).
E7 alt comes from F melodic minor, so ideas alternating between F major and F minor could be useful.

Finally you could try to play the chords on the piano slowly listening and then singing, looking for melodies.
 
#3 ·
I don't think you'll get away with the EXACT same scale for both chords, but you can get very close. The E7 altered scale is a F ascending melodic minor scale from E to E (E F G Ab Bb C D E). The F Maj7 chord uses ..... wait for it ..... the F major scale (F G A Bb C D E F). The two scales are exactly the same except for the Ab of the altered scale. Use the set of notes, being careful to pivot between Ab and A natural in the right spots and you'll be golden!
 
#4 ·
Especially at first, always link a solo to the song you're playing rather than as a separate entity. You do this by thinking of the melody line that goes with those changes and start playing around with it since you now are familiar with the chord notes. Sometimes the solo section can have its own distinct changes and/or be in a different key. You would take that as an open door for going off in a different direction entirely which is probably what the composer had in mind.
 
#6 ·
DCTwells has the right idea. Because melodic minor has no "avoid notes", you can think of it as starting on F if it makes it easier. Just think of alternating between F major and F melodic minor, using your ear as the guide as to when to play which. This is a typical exercise I do with my students.

FGABbCDEF
FGAbBbCDEF

For what it's worth, you could also use a Bb maj pentatonic (BbCDFG) on the E7alt , and Dmi pentatonic (DFGAC) on the Fmaj. They are the same, only one has A and one has Bb.
 
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