| Lead guitar players choose scales and play solos over | | | | whole progression. |
| chord changes a few different ways. Options include | | | | Combining Pentatonic and Major Scale Patterns |
| using pentatonic scale patterns, major scale patterns, | | | | The two song examples above use pentatonic and |
| or a combination of both. Also, you can follow just | | | | major scales that happen to correspond to each |
| the root chord in a progression, the entire | | | | other but this isn't always the case. Sometimes the |
| progression as a whole, or each chord individually. | | | | correct scales to use for soloing are one type of |
| Pentatonic Scale Patterns | | | | pentatonic and another type of major scale. For |
| Using pentatonic scales requires that you identify the | | | | example, "Oye Como Va" by Santana uses Am |
| root chord in a progression. The root is the tonal | | | | pentatonic and G major scale (a.k.a. Dorian mode). |
| center of a song that everything revolves around | | | | "No Rain" by Blind Melon uses E major pentatonic and |
| and where everything ultimately resolves. After you | | | | A major scale (a.k.a. Mixolydian mode). Once you |
| identify the root chord you can play a corresponding | | | | figure out the correct scales to use for soloing you |
| pentatonic scale over the whole progression. | | | | can play some of both or combine the patterns |
| For example, the lead guitar solo to "Stairway to | | | | together. |
| Heaven" by Led Zeppelin is played over the chords, | | | | Playing Over Key Changes |
| Am, G and F. The Am is functioning as the root and | | | | Sometimes the root of a song will change. If this |
| so you can play A minor pentatonic scale patterns | | | | occurs, then you must follow by changing the |
| over the whole progression. | | | | pentatonic scale to match. Also, sometimes the |
| The lead guitar solo to "Sweet Home Alabama" by | | | | chords in a song won't all fit together into one key. |
| Lynyrd Skynyrd is played over the chords, D, C and | | | | When this occurs you have to break the progression |
| G. The G is functioning as the root and so you can | | | | up into chord groups that each fit into one key and |
| play G major pentatonic scale patterns over the | | | | then play the corresponding major scales over each |
| whole progression. | | | | key. |
| An exception to this rule occurs in music styles with | | | | Outlining a Chord Progression |
| a blues flavor. Blues songs can break the rules a bit | | | | Pentatonic scales can also follow each chord change. |
| by using minor pentatonic scales over major chords | | | | So if you're playing a progression based on Am, G |
| (or dominant seven chords). | | | | and F, then you can play Am pentatonic over Am, G |
| Major Scale Patterns | | | | major pentatonic over G, and F major pentatonic |
| Using major scales requires knowledge of chord | | | | over F. This requires a lot of quick thinking because |
| progressions and playing by numbers. This is because | | | | you must reorient yourself into new patterns each |
| you must identify the parent key that ALL chords in | | | | time the chord changes. |
| a progression fit into then play that corresponding | | | | Music Theory for Guitar |
| major scale. | | | | As you can see, knowing your options when it |
| For example, the Am, G and F chords in the | | | | comes to playing over changes requires you |
| "Stairway to Heaven" solo only occur all together in | | | | understand music theory for guitar. The more you |
| the key of C. So you can use C major scale patterns | | | | know how things go together and what your options |
| over the whole progression (a.k.a. Am which is the | | | | are the better you'll understand the music you play |
| relative minor). The D, C and G chords in "Sweet | | | | and create your own compositions and |
| Home Alabama" only occur all together in the key of | | | | improvisations. |
| G. So you can use G major scale patterns over the | | | | |