tricky soloing.. any hints and tips

[anacrucix]

for some assignment at uni i have to play a solo over four chords, the solo doesnt really matter because its the recording i get marked on not the content, but still id like it to be pretty decent, the chord sequence goes as follows

1 2 3 4
G G# C F#
E E A D
C C# F B
A A D G <- Root note

i think that makes chord 1 Am7, chord 2 Amaj7, chord 3 Dm7 and chord 4 Gmaj7

What approach should i be taking to soloing over this? the way ive been looking at it is using different modes over each chord, e.g

Chord 1. A Aeolian
Chord 2. A Ionian
Chord 3. A Aeolian (D Dorian)
Chord 4. A Dorian (G Ionian)

but its pretty weird because i always have to think one scale ahead of the scale im playing... anyone have any better suggestions?

 

[noble savage]

for some assignment at uni i have to play a solo over four chords, the solo doesnt really matter because its the recording i get marked on not the content, but still id like it to be pretty decent, the chord sequence goes as follows

1 2 3 4
G G# C F#
E E A D
C C# F B
A A D G <- Root note

i think that makes chord 1 Am7, chord 2 Amaj7, chord 3 Dm7 and chord 4 Gmaj7

What approach should i be taking to soloing over this? the way ive been looking at it is using different modes over each chord, e.g

Chord 1. A Aeolian
Chord 2. A Ionian
Chord 3. A Aeolian (D Dorian)
Chord 4. A Dorian (G Ionian)

but its pretty weird because i always have to think one scale ahead of the scale im playing... anyone have any better suggestions?

Those sound like good choices, however I would recommend using scales that have more in common so there isn't a huge clash. Like over 1 (dorian), 2 (Mixolydian) etc etc. The more notes they share, the better. Of course, there are no rules in music so do whatever the hell you want!

 

[anacrucix]

Those sound like good choices, however I would recommend using scales that have more in common so there isn't a huge clash. Like over 1 (dorian), 2 (Mixolydian) etc etc. The more notes they share, the better. Of course, there are no rules in music so do whatever the hell you want!

yeah the mixolydian works alright there, i expected the G and g sharp to clash more, the problem is the dorian doesnt really sit well over chords 1 and 3

i just dont understand how guthrie makes it sound so easy on *erotic cakes haha

 

[Kenneth R.]

A great example of overthinking it and being far too "prog" to sound anything like music.

 

[OfSinsAndShred]

Actually, the way they're looking at it, it'll sound much more normal and musical.

 

[Kenneth R.]

more than...what dude? I never even presented an alternative.

 

[anacrucix]

asking what scales are wise to use when improvising a solo over an odd chord sequence isnt "over thinking it", its equpping yourself with the necessary knowledge to produce decent sounding improvised solos on queue, and if you think it doesnt sound like music, listen to the verse of "erotic cakes" by guthrie govan, as far as im concerned thats as musical as it gets, and it uses the same chord sequence.

 

[noble savage]

A great example of overthinking it and being far too "prog" to sound anything like music.

I don't think it has anything to do with "prog". This type analyzation is important to finding the "right" notes for chord changes.

I spent a lot of time doing the same type of thing and the best method, for me at least, was to come up with little phrases for each chord that lead into each other. Using half step transitions between phrases. If that makes sense. Scott Henderson's video melodic phrasing covers it very well.

I can give you an example or two if you want or are still searching for ideas.

 

[Kenneth R.]

Sorry for interrupting the "fellate Guthrie" party. Carry on children.

 

[anacrucix]

you come out with that and call us children? i guess you wouldnt be a real troll if you didnt go to desperate lengths to talk crap to people. the only reason youve posted in this thread is to grief people, i think it might be you who needs to grow up, go and put some of your 13k posts where someone wants to read them, your pathetic.

think that sums it up.

 

[noble savage]

Yeah, seriously man. What the hell is the purpose of all of the unwarranted bullying? He asks for help and you've done nothing but try to cause shit.

I'm not trying to stir up trouble but I don't understand why you would accuse us of over analyzing something because it's too "prog" and then proceed to call us children.

 

[Kenneth R.]

Mission accomplished.

But seriously, spending that much time anally analyzing what precise notes would make the most perfect sense over a solo, when you could just record yourself playing the chords, loop it, and try a bunch of different ideas, all guided by but not so severely stricken by theory, you might actually save some time.

 

[razoredge]

Well its way over my head so I say its good to analize this stuff, makes the brain work and over time it will come without so much thinking. Im impressed to hear about people thinking about this stuff, shows dedication and ambition that will pay off in the end.

Tomorrow night I might just check that progression out me self......... props !

 

[ABQShredHead]

Where did that progression come from? Clashy with no resolutions.

For the first three chords, you could stay within A harmonic minor, as long as you stay away from the natural seventh over the Amin7 chord and the flatted third for the Amaj7 chord. But, the flatted third to the natural seventh could be a natural segue into the Amin7-Amaj7 change as well.

Dmin7 fits in naturally. The Gmaj7 becomes the problem there though, and you'd have to find something new to avoid all out clashiness. Perhaps a quick whole-tone scale could jump in over this chord.

 

[schenkadere]

One thing I like about this forum is the lack of nonsense and shit talking...sorry to see it here when the guy is just asking for some advice.

Geez...all these anal prog childern.

 

[Kenneth R.]

You got it backwards. I think pretentious prog is bullshit. Basically my advice to "this guy" is, as I stated, comp the chords, loop it, and try different solos until you find one you really like. There's no mathematical formula that will automatically give you the secret to the one, ultimate solo. Music theory is great and should be considered, but it's more of a guideline than a rule. Arrrr.

 

[schenkadere]

You got it backwards. I think pretentious prog is bullshit. Basically my advice to "this guy" is, as I stated, comp the chords, loop it, and try different solos until you find one you really like. There's no mathematical formula that will automatically give you the secret to the one, ultimate solo. Music theory is great and should be considered, but it's more of a guideline than a rule. Arrrr.

Depends on the player...don't be so matter of fact...everyone has their own approach. There's no right or wrong way.

Put your money where your mouth is, dude. There's the chords...let's hear your loop and solo.

 

[Kenneth R.]

You're the one that's making this a contest. Sounds odd when you're also saying there's no right or wrong way. So you honestly think it'd be a quicker, better solution to sit down and gunk it all out on paper, than to use what theory has taught you and just play a few variations? I still think the paper method is way overthinking it. You don't have time to do that shit in a live gig. What happens if the vocalist forgets a line, or a guitar cuts out? The band has to react, you have to keep playing. You have to think on the fly, there's no time to sit down and consider what 5 notes would be the primo bestest everz over each chord.

 

[schenkadere]

You're the one that's making this a contest. Sounds odd when you're also saying there's no right or wrong way. So you honestly think it'd be a quicker, better solution to sit down and gunk it all out on paper, than to use what theory has taught you and just play a few variations? I still think the paper method is way overthinking it. You don't have time to do that shit in a live gig. What happens if the vocalist forgets a line, or a guitar cuts out? The band has to react, you have to keep playing. You have to think on the fly, there's no time to sit down and consider what 5 notes would be the primo bestest everz over each chord.

You're being ridiculous. That's how you learn. He's doing an exercise for a class. It's part of a skill set for a musician. You have a very unique way of giving "advice"...you're condescending tone really turns people off. If you consider analyzing music as preparation for recording to be "gunk", then there's no point continuing this nonsense with you...I'm sure you're a master of improvisation and can shine in any situation. Stick with Michael Bolton and don't be so naive.

 

[Kenneth R.]

As I expected.

If you'd actually read my post, you'd note that while I said music theory is a great and necessary component to any musician's repertoire, it is not the end-all solution to everything. There's proper consideration, and then there's overanalysis. In my opinion, this thread is asking for overanalysis. That just creates stale, clinical music. Good day sir.

PS: My favorite part of your post was how you mentioned my tone as 'condescending' and then tossed in the ad hominim. Brilliant.