Originally posted by PFDarkside
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What is your thought process when you're soloing over changes?
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Originally posted by PFDarkside View PostIt goes like this:
”Sounds like E, E blues it is!”
”ooh that note doesn’t sound good. Let’s bend.”
In all seriousness playing the changes is something I was trying to do, but I never got very far.Administrator of the SDUGF
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It's not a big deal. I know what I'm doing with how to build solos. I have too many devices in my head to even have the time to practice. The main thing I was wondering is when it comes to what notes to draw on, does anyone use a device other than trying to outline the changes or just using a broad parent key/scale or key center scale.The things that you wanted
I bought them for you
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Originally posted by Blille View PostThe let's bend is a great trick. I also like to play again the wrong note a few times to justify it while I figure out how to resolve it. Sometimes the chord changes and you're saved.Join me in the fight against muscular atrophy!
Originally posted by Douglas AdamsThis planet has - or rather had - a problem, which was this: most of the people living on it were unhappy for pretty much of the time. Many solutions were suggested for this problem, but most of these were largely concerned with the movements of small green pieces of paper, which is odd because on the whole it wasn't the small green pieces of paper that were unhappy.
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Since a great deal of what I do is straight improv I try to find a melody line that is some thing a vocalist could sing. Also try and remember less is more and to stay in the pocket.
Example would be this .Absolutely no idea where we were going find a key and flow with it. Have played many 2 hour sets with several folks like this. Also in the video note the droning sound from the girl with the real rams horn Shofar playing it in tune still don't know who she was. PS selling this guitar was one of the stupidest things I have ever done. It was a Peavey Geration S1 and was a monster. Made a killing on it as it was a Pawn Shop rescue but man I miss it!!Last edited by Ascension; 08-13-2021, 07:21 AM.Guitars
Kiesel DC 135, Carvin AE 185, DC 400, DC 127 KOA, DC 127 Quilt Purple, X220C, PRS Custom 24, Washburn USA MG 122 proto , MG 102, MG 120.
Amps PRS Archon 50 head, MT 15, Mesa Subway Rocket, DC-5, Carvin X50B Hot Rod Mod head, Zinky 25watt Blue Velvet combo.
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Couple more examples of straight up spontaneous improv live Worship sessions with different folks. We rarely have any idea where we are going till we get there.
This one got a little aggressive at times
Little more flowing and sweet session.
Thought process stay in the pocket add to and flow with the melody line as it evolves.
Here we got off track and had a trainwreck. I had to force the issue with this simple pattern to get things back on track then as things developed back off and just flow with where it went when the rest of the band kicked in.
Last edited by Ascension; 08-13-2021, 08:02 AM.Guitars
Kiesel DC 135, Carvin AE 185, DC 400, DC 127 KOA, DC 127 Quilt Purple, X220C, PRS Custom 24, Washburn USA MG 122 proto , MG 102, MG 120.
Amps PRS Archon 50 head, MT 15, Mesa Subway Rocket, DC-5, Carvin X50B Hot Rod Mod head, Zinky 25watt Blue Velvet combo.
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Originally posted by Clint 55 View PostIt's not a big deal. I know what I'm doing with how to build solos. I have too many devices in my head to even have the time to practice. The main thing I was wondering is when it comes to what notes to draw on, does anyone use a device other than trying to outline the changes or just using a broad parent key/scale or key center scale.
emphasize a note in that chord to highlight the chord change
don't emphasize a note in the chord to downplay the chord change
And literally play a different scale for every chord change
Do a bunch of modulation around the circle of fifths with the scale changes (next chord is a Cmaj7, so let's switch over to a Gmaj scale, heyo)
There's nearly always lead charts with chord changes in the jazz world. Lots of cats will make their own charts. Jazz players aren't expected to memorize music
Originally posted by crusty philtrumAnyone who *sings* at me through their teeth deserves to have a bus drive through their face
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Yeah, I try to outline the changes and then will bail back to the key center if I lose the progression. I memorize the tunes that I work on. I don't like a lot of tunes with all 2 changes per bar.The things that you wanted
I bought them for you
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I love reading peoples thoughts on this -great thread.
So, I listen through a few times and then let my brain visualize some sounds and passages before tinkering on the fretboard usually.
I don't typically let scale pattern option under the chords lead my approach, which honestly makes me less spontaneous with sounds when playing with people, but ultimately I think it makes me more creative because I'm building sound ideas internally and then applying them to where I know they can exist on the fretboard.
Because of this, I'm great in the studio with interesting ideas, but also not as good at wanking for long periods like I'm some kind of virtuoso type player with solos“For me, when everything goes wrong – that’s when adventure starts.” Yvonne Chouinard
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