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Austin Scelzo - Posted - 11/01/2022: 13:36:52
Three Approaches to Playing Over Chord Changes
I remember feeling frustrated when I first attempted to follow chord changes.
People would say things like “play A over the A chord and E over the E chord”
Huh? A what? E what?
What does that even mean? I would ask questions like, “so… do I change keys when I play over the E chord?”
If I play the major scale associated with the chord, it would be adding or removing sharps every chord change. How does this make sense when the song is in the key of A?
After years of frustration, I’ve developed a system for surviving in improvised scenarios that can work at any level.
There are three approaches you can take to playing over chord progressions:
Play ONE Versatile SCALE over all of the chord changes.
Suggested scales: (Sheet Music Here)
These scales remove the “offending notes” of a full major scale that are harder to place and are less likely to fit over multiple chords. They offer versatility and broad application and, with an attentive ear, can be used over all the chords of a song. Many people get by for years playing intuitively using these sounds.
Switch between TWO SCALES - One over the home chord, and another for ANY other chord
Use this approach if you can hear that the chord did change, but can’t identify whether it's a 4 or a 5 chord, for example.
This is an approach often used by blues musicians who switch from the major blues scale to the minor blues scale
This strategy works because the minor blues scale has inherent tension. Any chord change away from I will also create tension. Playing this rather tense set of notes, resolving back to a more stable set of notes, will give the impression that you are playing through chord changes, even if you are unsure of them.
Switch scales based on the chord changes - This approach is the most advanced but also gives the improviser more freedom/creative potential. It involves a bit more theory, ie: knowledge of modes, keys, and performance practice. Check out my Music Fundamentals course to learn more about this
For example, in the key of C, and improviser might choose to play C Major Blues over the C chord, C Minor Blues or F Lydian over the 4 chord, and G Mixolydian or G Minor blues over the G chord….
There is potentially an infinite number of approaches you can take to playing over any chord, but these choices are often influenced by performance practice in the genre (ie: What people have done before). Here are some Suggested Scales for Bluegrass music that I haven’t already mentioned
Major - I’m sure you know this one!
Mixolydian Pentatonic (As in the scale construction of tunes like Wheelhoss and Northeast Seaboard Blues
Then of course, there is an arpeggio based approach which can range from Maj 6, Maj 7, Dominant, Diminished, Augmented etc. PHEW!
That's a lot!
I hope this inspires curiosity rather than dread! Learning music is a never ending journey. One that we can enjoy ever step of the way.
I’ve dedicated my professional career to helping others feel less frustrated, more confident, and more clear on how to achieve their musical goals.
That’s because I’ve had my fair share of frustration and I want to make it so others don’t have to pay a fortune to learn this stuff at music school!
That's also why I believe in the Bluegrass, Country, and Roots Online School - and why I’m starting to offer extra class times. This week, check out my weekly 8PM Fiddle class or my new afternoon session (This week it's Friday at 11AM)
Or, if you’re interested in working one on one with me, check out my options: ways to work with me
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Did you know that there are over 84 pages of fiddle inspiration that is available to read any time on my website? I’ve been sending tips each week for over a year now! I may compile it into a book one day… What do you think?
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