help with solo

[postofficebuddy]

e.------------
b.-3-----2---
G.-0-----0---
D.-2-----2---
A.-3-----2---
E.-----------



if im playing a these 2 chords, what kinda stuff could i use to solo, i usualy use Cmaj but sounds a little off, the D note in the first one really mucks the Cmaj scale up, maybe the relative minor could work but i want it to be happy, any suggestions???

[bammbamm]

The c# is adding the tension that is making it more difficult to play in, it seems to me, not hearing the song in context. Try E minor for soloing...

[chooch]

i'd say try the G blues scale

[postofficebuddy]

thanks guys

[yoyo1299]

E minor hungarian pentatonic scale. lol. i dunno if that would work here, but it's quite the scale

[postofficebuddy]

this?

[ibaraki_gaijin]

^^^^

yup looks like Hungarian is the way to go alright!

That scale is good fun, although i can't seem to noodle around using it without the words "start wearing purple, wearing purple" creeping their way into my head. this is probably just me no need for the rest of you to worry...

((+_+))

[rastachild]

i agree with bammbamm that the context is everything here, but if both chords are played for the same duration, and assuming that the 2nd chord is the 'resolving chord', i wouldn't settle on one mode for the entire progression. let's break it down on a chord basis:

first chord is a C9 and the 2nd chord is a Emin6 (in 2nd inversion, since the B is the bass note). it's a cool sounding progression and should allow you to milk some great tension notes.

looking at the chords individually, the obvious choices for the C6 would be C major, C mixolydian (there is no 7th in the chord, so this is ok) or C lydian. you won't have as many options on the 2nd chord, as it has that natural 6th. your best option is probably going to be E dorian.

when i play over the progression, i naturally tend to gravitate to the C lydian - E dorian option. probably because with this option, you only have to change one note between each mode (c to c#). the other notes stay the same, although the tension notes and key chord tones are of course different. the other options (C maj & C mixolydian) would require you to change 2 notes. this is ok sounding, but the c lydian to e dorian options sounds less 'obtrusive' imo. good luck and happy experimenting.

[Guitarist-Jonny]

Personally, I would use C lydian (G major/ D mixolydian) for the first Cmaj add9 chord. For the second E minor major6/B, I would change to a B minor (C# locrian/ D major). The same as Rastachild. This way, you're only changing the C to the C# in the two scales- this will keep it as 'in' as possible if you ask me.

The G blues scale- there are more than one types of blues scale, depending on the one cooch means will vary how well the scale will work.

Sorry dudes, but i don't think the hungarian minor would work . Aren't notes 4 5 and 6 of that scale A#, B and C? The absent C# could send it out a bit for the second chord. If 4 5 and 6 or whatever where B, C and C# I think it could work then.

Another option could be to use C major (G mixolydian) for the first C major add9, then for the E minor major6/B use a G lydian b7. This is basically the same as the C lydian- B minor idea but using an F natural in place of the F#. Try it out dude!

Regards
Jonny