I have found this backing track, and I really liked the vibe of it... so I have recorded a guitar improvisation, I hope you will like it!
Question: what kind of scales did I use over the V (E7) chord?
If you are the first to give a correct answer, then you will get a TAB+backing track package of my latest album 'Timeless Hour'.
if i had to make an intelligent suggestion as to what scale you would use over a v(e7)chord in A minor i would have to say A harmonic minor would be the most logical choice.
ReplyDeleteYes, you are right, A harmonic minor is the most obvious choice (in fact, this can be considered as an E phrygian dominant scale as well, because it is played over the E7 chord).
DeleteHowever, I have used 3 different scales over the V (E7) chord in this solo. If you can find and name these 2 more scales besides the harmonic minor, then you will be entitled to get the prize.
And by the way, thanks so much for reading my blog, I appreciate it a lot!
Yes, you are right, A harmonic minor is the most obvious choice (in fact, this can be considered as an E phrygian dominant scale as well, because it is played over the E7 chord).
ReplyDeleteHowever, I have used 3 different scales over the V (E7) chord in this solo. If you can find and name these 2 more scales besides the harmonic minor, then you will be entitled to get the prize.
And by the way, thanks so much for reading my blog, I appreciate it a lot!
lets see,other choices over the E7 chord could be E mixolydian and E lydian b7,you could also play an E7 arpeggio but you did say scales,anyway thats probably the limit of my knowledge(hence the reason i read guitar blogs),i know these scales work over dominant chords but not sure if this is correct but thats my best answer.
ReplyDeleteIn general, E-mixolydian or E-lydian dominant (b7) are perfect choices over an E7 chord. If this chord is in the V position of the V-I progression, then the E-altered scale, the E half-whole scale or the E-phrygian dominant scale are better choices. Reason: these scales have either more common notes with the A-minor tonality (A-minor is the key of this backing track), or have the altered degrees (b5, b9, #5, #9 built in.
Deletethere you go,i've learnt something new,i've got the major scale and modes worked out and i'm up to the harmonic minor scale and modes and when i've got that down i'll tackle the melodic minor and its modes.I think the altered scale is a mode of the melodic minor so probably just out of reach for me at the moment(as is the lydian b7 but i just knew that some players use it over dominant chords but i dont actually know it yet) and as for the half whole scale i think thats a scale all its own so wont be up to that for a while yet either but small chunks all add up to a large bite so all in good time.thanks alot and i'll keep checking out the blog.by the way i noticed you had Andy James do a guest spot on your album,that must have been pretty cool,i've got quite a few of his instructional dvd's here and he's quite a player,dont know if i'll be able to reach those levels of proficiency but its not from lack of trying lol.
ReplyDeleteI'm glad you have found the post and the additional comments useful!
DeleteYes, the altered scale is derived from the 7th grade of the melodic
minor scale. It is one of the coolest sounding scale, with tons of
sonic possibilities.
The half whole scale is a symmetrical scale with repeated half and
whole steps, it's worth to experiment with it, by creating a riff on
the low E string.
Andy James was very kind and he did an awesome guest solo for my
album. He is an amazing player and a cool guy too!
You can listen to some of my songs on http://facebook.com/jonastamas
and on http://jonastamas.com
Cheers and thanks again for reading my guitar blog!