Join Date: Nov 2005
Originally Posted by vivaldi
ok i did not understand this : - your playing Bm. Its G major thirds. so just play G maj over Bm. your playing B phrygian. simple Math.
ok so far I figured out that G major third is Bm. anda how come this becomes B phrygian? what happens if i played C maj or Fm scale over B minor?
is there a way/formula to remember this method?
and dude, simple math ........whats math gota do with this ?
I need help from you PRO guitarist pls.
(i ve understood circle of fifths,construction of chords, scales, arps and formation of modes lit bit )
OK let's drop the math and let's think theory... Now what I just described is what is known as derivitive playing. In other words your playing is derived from one of the modes of a scale. If I get your question right, what other scales can you play against the phyrgian mode? Let's talk major scales first and then perhapse you will see the picture here. If you look at the circle of fifths you will see that the "C" is the subdominant and that "D" is the dominant. "G" is the tonic chord.
Let's look at the key of "C": G A B C D E F
Let's look at the key of "G": G A B C D E F#
Let's look at the key of "D": G A B C# D E F#
Notice that each of these scales is only one note away from the others. So if you were to play G Maj you could play any of these scales and would have good results. OK, the natural minor of G is Fm and C is Am and D is Bm... Are you seeing it yet? There is no difference in the notes between the minor and the major scale.
Am: B C D E F G A
Em: B C D E F# G A
Bm: B C# D E F# G A
This what is commonly known as playing in parallel. It's mostly used in Jazz and Country but you could just as easily use it if you are playing Rock Fusion. Just remember that the further away you get on the circle of fifths, the less likely your scales will be compatable...
Hope that helps,
Edited to reflect two sharps in the key of D...