ii V I..something to try over the V chord

What's Hot
BarneyBarney Frets: 614

maybe a lot of you guys already know this

 ii V I in the key of G....Am7 D7 Gmaj7

over the 5 chord try Ebmaj7 arp ...it gives a nice outside sound...and its very usable cos most of us know it...:)

0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
«13

Comments

  • bigjonbigjon Frets: 680
    The Ebmaj7 arp superimposed on a D7 foundation makes the chord a D7b9#5sus4. I'm not convinced by the sus4 G note (the 3rd of Ebmaj7) myself - I think it would work better superimposing an Ebmmaj7 arp, eg x6433x, which would outline the F# of the D7 chord and make the overall chord D7b9#5
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • bigjonbigjon Frets: 680
    The problem with the G note is that it is very inside (it's the root note of the home key), so it gives the V chord a much smoother R'n'B feel with less tension-release from the V chord to the I chord.
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    bigjon said:
    The problem with the G note is that it is very inside (it's the root note of the home key), so it gives the V chord a much smoother R'n'B feel with less tension-release from the V chord to the I chord.
     
    i think as with all things theory based it takes a bit of musical input from the player to make things work....i think the only way is to try it rather than saying it dosnt match up theory wise.....i think its a good way for anybody to get a outside sound with minimal effort most people will know the maj7 arp....
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • ddloopingddlooping Frets: 325
    Quite cool, Barney, thanks. :)

    Try the following : fret [string] (6 = high E)
    10 [6] - 12 [4] - 11 [5] - 13 [3] - 12 [4] - 10 [3] - 11 [4] - 12 [5]
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • bigjonbigjon Frets: 680
    edited August 2013
    Barney said:
    i think as with all things theory based it takes a bit of musical input from the player to make things work....i think the only way is to try it rather than saying it dosnt match up theory wise.....i think its a good way for anybody to get a outside sound with minimal effort most people will know the maj7 arp....
    Fair enough. In that spirit, try a blues scale in position one (or even a minor pentatonic) 3 frets above the V chord. So over the D7 play F blues scale, eg

    ---13---16---13-----------------------------------
    ----------------------16---13-----------------------
    -----------------------------------16---15---13---
    -------------------------------------------------------
    -------------------------------------------------------
    -------------------------------------------------------

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    bigjon;12558" said:
    Barney said:i think as with all things theory based it takes a bit of musical input from the player to make things work....i think the only way is to try it rather than saying it dosnt match up theory wise.....i think its a good way for anybody to get a outside sound with minimal effort most people will know the maj7 arp....

    Fair enough. In that spirit, try a blues scale in position one (or even a minor pentatonic) 3 frets above the V chord. So over the D7 play F blues scale, eg

    ---13---16---13---------------------------------------------------------16---13----------------------------------------------------------16---15---13------------------------------------------------------------------------------------------------------------------------------------------------------------------------
    Yeah that will work fine...in fact try moving up in semitones from E minor penta for the full progresion starting with Am7 ..chord with the same fingering you have above.....in reality anything will work if its resolved ..although the theorist will have some sort of big fancy name for it ...my OP was just passing on something that I thought might be intresting for anybody just getting in to this kind of thing and easy to use ..the F blues scale could be awkward because of the F F# clash...
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • bigjonbigjon Frets: 680

    Barney said:
    ..the F blues scale could be awkward because of the F F# clash...
    Aww, it's only an itty-bitty little #9, standard chromatic extension of a V7 chord. It's even there at the top of the Hendrix chord, so I think our ears are pretty used to it by now and don't perceive it as clashing all that much
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • bigjonbigjon Frets: 680
    Another good "sound like you know what you're doing" thing to play over the V7 chord is root note on the top string, up one fret, up another two frets, then extend that pattern over the next two strings. So the pattern is over a D7 into G is

    -10-11-13-
    -10-11-13-
    -10-11-13-
    --------------
    --------------
    --------------

    and a sample lick would be

    ---10---11---13---11---10--------------------------------------------------
    ------------------------------------13---11---10------------------------------
    --------------------------------------------------------13---11---10---11----
    -----------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    Most people starting this kind of thing will start on the root note mence the clash with the Maj 3rd ....try the Eb Maj7 arp from the Maj7... D note...it makes it more pleasing to the ear.
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    bigjon;12586" said:
    Another good "sound like you know what you're doing" thing to play over the V7 chord is root note on the top string, up one fret, up another two frets, then extend that pattern over the next two strings. So the pattern is over a D7 into G is

    -10-11-13--10-11-13--10-11-13-------------------------------------------

    and a sample lick would be

    ---10---11---13---11---10--------------------------------------------------------------------------------------13---11---10--------------------------------------------------------------------------------------13---11---10---11-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
    Thanks ill try that :)
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    Try this one ...
    …………………………………………11…14……
    …………………10…13…………………
    .……………………………11…14…………
    ..10…13…………………………………
    …………………………………………….
    .…………………………………………………

    Its a really simple one but effective...and can be moved in min 3rds..all over the neck
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • bigjonbigjon Frets: 680
    Barney said:
    Try this one ...
    …………………………………………11…14……
    …………………10…13…………………
    .……………………………11…14…………
    ..10…13…………………………………
    …………………………………………….
    .…………………………………………………

    Its a really simple one but effective...and can be moved in min 3rds..all over the neck
    Here's a little secret - because this is symmetrical and can be moved in minor 3rds, ANYTHING that works in a vaguely outside-ish way over a V chord can also be moved in minor 3rds! :-)
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • ClarkyClarky Frets: 3261
    try Lydian Dominant over chord V
    play every note as if it were your first
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    This is going to end up to be one of them threads ...lol...yeah lydian dominant works great...the whole thing about my first post is something most people can relate to....actually anything will work as long as it resolves in a musical way....
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • ClarkyClarky Frets: 3261
    ahh ok.. want me to post a lick as an example??
    play every note as if it were your first
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    Clarky;12775" said:
    ahh ok.. want me to post a lick as an example??
    yeah could do....its always better to hear how it works really...ill post some stuff later using pentatonics moving up in semitones ...
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • ClarkyClarky Frets: 3261
    k.. I'll see what I can rustle up...
    play every note as if it were your first
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    Clarky said:
    k.. I'll see what I can rustle up...
     
    ok...cool ..this is from a while back when i was practicing the minor pentatonics over 2 5 1 in Cmaj....just really trying to get the sound of them in my head im using pentatonics moving up in semitones starting with A penta..
    im expecting bigjon might post some of his ideas as well....its always best to hear ..:)

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • vizviz Frets: 10644
    That's pretty beautiful barnster.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • BarneyBarney Frets: 614
    thanks Viz..:)
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
Sign In or Register to comment.