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Comments
I would experiment with the minor and major third as well as the typical minor bluescale and chromatic runs too, as Hendrix liked his Chromatics
Thinking E major pentatonic would give me more G# than I would want to use on this particular chord progression. So I'd think of it as temporarily adding G# to the minor pentatonic (or Dorian mode) if what I hear in my head led me to use that note.
The G and A chords are the 4 and 5 of Dmaj the E7#9 could be looked at as a E minor or dorian mode of D ...but probably all hendrix was thinking of was Em pentatonic mainly ...
It's funny ..we try and break things down to make sense and probably when all this was wrote and played none of this would have been thought about
The solo isn't over the chords of the verse, but (from memory) E7#9, F# and D.
The #9 chord was used by jazzers (eg Duke Ellington) as way of harmonizing the blues scale, and generally the minor 3rd is used in melodies over this chord, eg scales with minor 3rd in, so can functionly be considered a minor chord.
Kenny Burrell use blues scale for the melody but a 7#9 chords for the harmony on these , Chilins Con Carne and Midnight Blue)
Looking at the chords tones of F# and D you also have an F# in both these chords and a C# in the F#. These are both notes included in the E dorian scale, so you could use this as a basis for lead work over this progression.
Again from memory Hendrix uses extensively use an F# in the solo, not sure if he employs a C#.
I generally don't employ a scale based approach (I've heard too much music where the soloist seems to think that as long as they playing the "right" scale they are making music), but like to know where the chord tones are.
The chord tones for Em, A and G are also in the E dorian scale, so you could use this if you wanted to play lead of the verse chords.