CP Posted August 3, 2003 Share Posted August 3, 2003 Can someone give me an idea what notes to use when soloing over the following chords: measure 1: Bm9, Am9 measure 2: Bm9, Em9 Also, when soloing, do you play the chords in the left hand, or do you just concentrate on soloing. I have a bass player, so I don't think its necessary to play the root in the left. Thanks, greatly appreciate it. Link to comment Share on other sites More sharing options...
Markyboard Posted August 3, 2003 Share Posted August 3, 2003 Well I just tried it and I can use every note except D#. And even D# can be used as a passing note or as a "repeated mistake" note. Not being in a band I tend to play bass note parts exclusively with my left. Not the best way to go as good soloing uses both hands effectively between comping, supporting right hand (chords and extended soling) etc. Link to comment Share on other sites More sharing options...
Markyboard Posted August 3, 2003 Share Posted August 3, 2003 Sorry. My comment appied to the Bm9, Am9. I cant find any notes that dont work with the 2nd combination. I have not broken down which notes go with which chord of the pair. I'll cop out here and say - use your ears. Or defer to someone with lots more theory understanding. Link to comment Share on other sites More sharing options...
Dave Horne Posted August 3, 2003 Share Posted August 3, 2003 You can answer this yourself by trying a few scales and see which one work best. Wrong answer, right? A bm9 chord, B, D, F#, A, C#, would suggest an A or D major scale. If it were just a _bm7_ chord, I would have suggested G, D or A major scales for starters. A minor _7th_ chord only occurs naturally in three major keys, right? A bm7 chord is a ii chord in A major, a iii chord in G major and a vi chord in D major. The added C# (the 9th of the chord) would lean the chord more towards D or A major. Some people prefer to use Greek mode names. I find it easier to simply say an D major scale starting on B, for example or an A major scale starting on a B. I'm sure you can add more scales to the list, but this would be how I would approach it for starters. I suppose you could consult a book of 'chord/scales' if you didn't want to think for yourself and didn't trust your knowledge of theory or didn't trust your own ears. Working this stuff out on your own will have more worth, in my opinion. See if the chord occurs naturally in any key first and go from there. Also, we are only looking at these chords without looking at the key signature, without looking at the melody and without looking at the chords before and after. We are just looking at these chords without any reference to anything else. One chord down, two to go. You're big enough to do this on your own. No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Carlito Posted August 3, 2003 Share Posted August 3, 2003 Why don't you sequence that part of the song close to what it would sound without keyboards, and then try all different things. You may find a simple run to do the trick. Link to comment Share on other sites More sharing options...
Dave Horne Posted August 3, 2003 Share Posted August 3, 2003 Originally posted by CP: [QB]Also, when soloing, do you play the chords in the left hand, or do you just concentrate on soloing. I have a bass player, so I don't think its necessary to play the root in the left. /QB]If you have a bass player, it's really not necessary for you to play root position chords in your left hand. I really get the feeling you know the answers to all of these questions or if you don't, would soon discover what to do simply by doing it. Some piano players are one hand wonders, they can play lightening fast runs with their right hand and play nothing or very little with their left hand. Sometimes a 'style' originates from a lack of technique or ability. Of course, you don't have to play left hand chords all the time. Sometimes it a nice change in sound to just have a bass player and a single line solo. Practice block chord solos, that usually impresses people because few pianists actually practice that style. The field is wide open and _your_ ears are the final judge. No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
CP Posted August 4, 2003 Author Share Posted August 4, 2003 Thanks Dave and Mark. You know Dave, after reading your response, I kinda knew the answer. So you are right. I guess it's one thing to know it in theory, and another thing to be able to put it into practice. My knowledge of theory is way ahead of my practical use of it. I guess I just gotta keep practicing. Thanks everyone. Link to comment Share on other sites More sharing options...
Dan South Posted August 4, 2003 Share Posted August 4, 2003 If you want to develop a phrase that will work over the whole progression without customizing it for every chord, use the notes E F# A and B in any order. A repeating figure might be nice. (quarter-note triplets) A B F# A B F# | A E F# A F# E | D... The Black Knight always triumphs! Link to comment Share on other sites More sharing options...
CP Posted August 4, 2003 Author Share Posted August 4, 2003 Originally posted by Dan South: If you want to develop a phrase that will work over the whole progression without customizing it for every chord, use the notes E F# A and B in any order. A repeating figure might be nice. (quarter-note triplets) A B F# A B F# | A E F# A F# E | D...Thanks Dan. Will work on that. Link to comment Share on other sites More sharing options...
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