Originally Posted by: Horns_up6This is where modes come into play, actually. Look at all the notes in the Gmaj (Ionian) scale: G, A, B, C, D, E, F#, G. Now, the Ionian scale starts AND ends on G. The Dorian is the second mode which starts and ends on A: A, B, C, D, E, F#, G, A. Phrygian is the third and begins and ends on the third note, etc. So if you are playing a solo over, say, G, C, D, G... when the G chord is being played, play a lick in G Ionian, When the C is played use C phrygian, etc... It's very helpful if the chords in the progression can be found in the key tone scale. i.e. all the chords you gave above are in the Gmaj scale, which makes it whole lot easier. So as long you know the modes, and play a scale that relates to the chord(s), you'll be alright.
Hi Horns, I believe that music offers so many possibilities in originality and creativity. If it sounds good, it is good. From playing in Key, modulation, using altered scales, improvisation, the skies the limit with many opportunities.
looking at your idea soloing over a G, C, D, G...Progression. G Ionian sounded good over the entire progression.
When trying the C Phrygian; C-Db-Eb-F-G-Ab-Bb...over the Cmaj chord something interesting happened; "The Mother of God" came down the Milky Way surfing on a Violin . She pointed, extracting a razor thin Bolt of Lightning from her finger that melted my Humbucker into puddle on the floor....... I quickly switched pickups and moved to Dmaj. Suddenly an instant message appeared floating on the puddle that said "Try that again and I will smite thee with Great Vengence"..................... Out of spite, I Accepted the Challenge, when BAMM, a huge Frozen Crystal Ball crashed right through my roof making a sound like a telephone off the hook. A Voice broadcasted through the Ice and said " You want Dissonance??? I'll give you Dissonance". A visual appeared through the Crystal Ball. It was Vanessa Mae... Dispite the fact that Frostbite was setting in, Thinking swiftly, I scooped up my humbucker and poured it back into my Les Paul before it hardened. I then scrambled for my camera, only to discover it had been left on and was already recording ...... Luckily, the camera worked this time (such a tempermental piece of crap) and this is what I saw as she played this extremely technical piece in Gm to show how vast the creative spread that music has....
Although the notes in C Lydian would have been the safer choice to the G,C,D,G progression, The Lydian really wouldn't change or brighten much in this particular voicing. The G Ionian would take control and own it outright.
C Phrygian was an interesting study. The Phrygian notes compared to the notes of the progression in the Key of G were;
The Gmaj chord; G-B-D...In comparison; G-Bb-Db = G diminished
The Cmaj chord; C-E-G...........\\........; C-Eb-G = C minor
The Dmaj chord; D-F#-A.........\\........; Db-F-Ab = Db Major
If theory of Parallel modes were applied here, it would be;
G Ionian = G-A-B-C-D-E-F#
G Locrian = G -Ab-Bb-C-Db-Eb-F (same notes as C Phrygian)
The G Locrian/C Phrygian shared 2 out of it's 7 notes with the G Ionian. The Combined notes become The Chromatic scale.
It's Something I hadn't realized before....