#----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------#
In a chord progression like Em9 D#7(+9) Am9 G#7(+9) (Fig. 1) each chord is in a different key, and therefore if you don't want to have a terrible clash, you have to follow those changes. Our first chord is an easy one, Em7, we can use the resources we normally use over minor chords (Go to the lesson MEZCLA MENOR / MINOR MIX (+ AUDIO WAV)). Our first options for this chord could be E minor scale, E minor pentatonic, E dorian (E F# G A B C# D)...
The second chord is somewhat more complicated. D#7(+9) = D#, G, C#, F#, o major or minor (natural) scale contains all these notes. The closest major scale is E major, or its relative minor C#, ( E MAJOR = E, F#, G#, A, B, C#, D#). It contains all the notes of the chord with the exeption of G. If we modify the E major scale then we'll have E, F#, G, A, B, C#, D#, which is the E melodic minor scale. So, to solo over a D#7(+9) we need the seventh mode of E melodic minor scale, that is the D# Superlocrian scale = D# E, F#, G#, A, B, C#. The Superlocrian mode is 1 b2 b3 b4 b5 b6 b7.
The remaining of this chord progression is the same thing, only transposed to a 4th (From E to A) Over Am try the scales suggested in MEZCLA MENOR / MINOR MIX (+ AUDIO WAV) and over G#7(+9), try G# Superlocrian (G#, A, B, C, D, E, F#)
One last thing: always listen carefully to a chord progression, and try to find its melodic sense, were is the tension and resolution, and what it suggests. Listen to this lesson
Em9 D#7(+9) Am9 G#7(+9) |----------0--------| |-7---7----0----12--| |-7---6----5----11--| |-5---5----5----10--| |-7---6----0----11--| |-------------------| Em = 1 2 b3 4 5 b6 b7 Em D�rico = 1 2 b3 4 5 6 b7 |-----------------------------0-----------------------------0--| |-----------------------0-1-3-------------------------0-2-3----| |-------------------0-2---------------------------0-2----------| |-------------0-2-4-------------------------0-2-4--------------| |-------0-2-3-------------------------0-2-4--------------------| |-0-2-3-------------------------0-2-3--------------------------| D# Superlocrio = 1 b2 b3 b4 b5 b6 b7 (VII modo de la escala mel�dica) |-------------------------------------------11--| |-------------------------------------12-14-----| |----------------------------11-12-14-----------| |-------------------11-13-14--------------------| |----------10-12-14-----------------------------| |-11-12-14--------------------------------------| Am D�rico = 1 2 b3 4 5 6 b7 |-----------------------0-2-3-5--| |-------------------1-3----------| |-------------0-2-4--------------| |-------0-2-4--------------------| |-0-2-3--------------------------| |--------------------------------| G# Superlocrio = 1 b2 b3 b4 b5 b6 b7 (VII modo de la escala mel�dica) |-----------------------------4--| |-------------------------5-7----| |-------------------4-5-7--------| |-------------4-6-7--------------| |-------3-5-7--------------------| |-4-5-7--------------------------|
-------------------------------------------------------------------------------- ** Generated using Power Tab Editor by Brad Larsen: The Official Power Tab Web Site
Legend
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h = hammer-on; p = pull-off; b = bend; r = bend release; / = slide up/down; [5] = nat. harmonic; <5> = art. harmonic; ~ = vibrato; tr = trill; T = tap; TP = trem. picking; PM = palm muting; | = bar; || = double bar; ||o = repeat start; *|| = repeat end; *| = double bar (end); : = bar (freetime); d = tremolo bar dive; u = tremolo bar up; = = hold (bend or tremolo bar)
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