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What would you do?

Discussion in 'Tab, Tips, Theory and Technique' started by tanplastic, Apr 20, 2021.

  1. tanplastic

    tanplastic Tele-Afflicted

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    Hello fellow TDPRIers. I'm curious how would you approach improvising over the following chords.

    ll: Bm Am CM7 B7 :ll

    GM7 F#m E

    Thanks for any input!
     
  2. blowtorch

    blowtorch Telefied Ad Free Member

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    What would you do?
     
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  3. johnny k

    johnny k Poster Extraordinaire

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    Improvise on the chord shapes and change with every chords.
     
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  4. brookdalebill

    brookdalebill Tele Axpert Ad Free Member

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    Uh, noodle endlessly with pentatonic riffage until the cows came home.
    When I run out of ideas, I'll step on a wah pedal and noodle some more.
    Just like everyone else!
    Hey, where did everybody go?
    Hey!
     
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  5. blowtorch

    blowtorch Telefied Ad Free Member

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    feedback is good for the dissonant stuff, too
     
  6. P Thought

    P Thought Doctor of Teleocity Ad Free Member

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    I'm not the greatest musician in the world, but I would tell whoever was playing that chord progression to pick a key and stay in it a while.
     
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  7. billy logan

    billy logan Tele-Meister

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    I would tremolo (fast pick) an F# note continuously over ||: Bminor Aminor CMAJ7 B7 :||

    During my bold tremolo of a single note I would get your attention and ask if you meant CMAJ7 as in C E G B ?
    my tremolo-ed F# would be the:

    5th degree of a Bminor - the 6th degree of Aminor - the #11 of a C chord - and - the 5th degree of a B7

    If the F# note sounded too weird over the C I would quickly shift my tremolo down to very near the bridge to make it appear that I intended that weird sound

    WHOA!!!! I Just tried your chord sequence on my sticky-key, but recently-tuned piano. That chord progression sounds pretty good. Ominous! at least ominous w/F# on top.

    Waggled an F# octave trill.
    played the CMAJ7 low to high E B C G (the B and C right next to each other) Even better CMAJ7 crammed together: low to high G B C E, which, on piano, makes it easier to go step-wise with the chords.

    and the continuous F# sounds OK, if kind of doom-y over the GMAJ7 and F#minor, until the E chord where the F# note is the ninth to E (no 7th) and it releases the doom feeling.

    This continuous F# would buy me time to think of an answer to "What would klasaine do?"
     
    Last edited: Apr 30, 2021
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  8. gtroates

    gtroates Tele-Holic

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    Not what you have to do, just a quick key analysis:

    G major scale over first three chords in the repeated section, E harmonic minor scale over the B7 (or think of it as playing a D# in place of the D natural in the G major scale).

    For the second group, D major scale for the first chord, for the second chord both a D major scale and E major scale work as it’s a pivot chord that works with either key. The last chord E major scale.
     
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  9. Edgar Allan Presley

    Edgar Allan Presley Friend of Leo's

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    Know your chord tones and follow those chords. You can generally think of G major as home, but watch the D# when B7 comes around, the C# in Fm, and the G# in E.
     
  10. tanplastic

    tanplastic Tele-Afflicted

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    I was trying to play the Bm as Am+9, which would handle the first three chords, then the B major. Thanks for your post.
     
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