Soloing over Em9 and Gm9

[vibhas_2310]

hey !!

So my band's guitar player has written a tune where I have to solo over Em9 and Gm9. The progression also alternates between this one and Em7 Gm7.

Any tips ??

Thanks

[BassChuck]

Lots of common pitches between those two chords. You got a lot of possiblities for doing very rhythmic things on one note as the chords change.

[plangentmusic]

Play the notes in those scales?






Seriously, you could look at it as Gmaj to Gm.

[azureblue]

So my band's guitar player has written a tune where I have to solo over Em9 and Gm9.

Well, when you have minors, you can add in 4ths and when you have 9ths, you can add in 6th and sometimes major 7ths, if you want to get jazzy about it. But you can get all hammer - on with D, E, G, and A. :-)

[slybass3000]

You have a lot of choices. First these two chords are both Dorian so use them. If you bring this to the major scale, you would play a D major scale and then a F major scale. There are a lot of common tones between these two scales and working with the major scale it is easy to see what notes change from chord to chord.

One short-cut would be to use the E minor pentatonic scale and or the Blues scale and keep it over the G min and emphasize the Bb instead of the B which would give you the Blue note that is sticking out on the G min compared to the E minor.

i hope it makes sense to you when put that way,

Good luck

[christoph h.]

It's also a good idea to think of substitute chords.

Try playing a Gmaj7 arpeggio over the Em9 and a Bbmaj7 over the Gm9.

That is also what plangentmusic was referring to when he said to think of it as Gmaj (first substitute) to Gm (no substitute).

Other substitutes are Bm7 over Em9 and Dm7 over Gm9, for example

As you can see, you can mix and match these substitutes to create very smooth movements... "Em9 to Dm7" (Gm9 sub) or "Bm7 to Bbmaj7" or "Gmaj7 to Gm9".

I prefer thinking of chords/arpeggios first because they tend to sound much more melodic and interesting than scales. In the end, the chord tones will be your target notes that you can approach with other notes from the scale.

[MalcolmAmos]

Originally Posted by slybass3000

One short-cut would be to use the E minor pentatonic scale and or the Blues scale and keep it over the G min and emphasize the Bb instead of the B which would give you the Blue note that is sticking out on the G min compared to the E minor. Good luck

When faced with this situation, if it is not already obvious - I cheat and go to my handy dandy scale chord generator and look up the notes in the chords I will be playing over. After doing that, as slybass points out, it became obvious the E Blues scale was going to be a good choice.

My point - look at the notes involved and then find the scale that has those notes. Here is the site of my handy dandy chord scale generator http://www.looknohands.com/chordhous.../index_rb.html

Next time you will not have to ask - just pull up your handy dandy chord scale generator. After a few times of looking it up you will be able to do it with out the cheat sheet. That short-cut Sly talked about normally works, i.e. if the chords are minor look at the tonic minor pentatonic scale first, it'll probably work. If the chords are major look at the tonic major pentatonic. Might not be right this specific time, but, it's a good starting point. The ole Blues scale works over major and minor progressions so keep it in mind also.

Good luck..

[dpbass66]

I am all about the theoretical approach (I am a Berklee graduate), but many good technical/theoretical options have been provided here

I would add these:

1)Program the changes into band-in-a-box (if you dont have BIB, get it, its a great parctice tool...). then let the changes play on repeat. Sit back and just play what you hear, sing ideas and play them on your bass, or figure them out and then play them.

2) listen to bass players you like playing solos, and steal some of their licks (as applied to the chords you mention), if something you like doesnt fit perfectly, modify it so it does fit.

Do this in addition to the theoretical ideas presented in previous posts.

Good Luck.

[christoph h.]

Sorry, but I don't think the E Blues scale is a good choice.

You are totally missing out on the opportunity to work with the notes F# and F. Also, thinking about the wrong tonality (major third "B" over chord Gm) and "not emphasising the wrong note" may look like a nice short cut now. But it's a dead end street when trying to play really interesting stuff and not just noodling around in familiar patterns.

[vibhas_2310]

Programmed the changes in Band in a Box. Working on them. Yes, there is some prgress as far as soloing is concerned.

Thanks a lot for the replies !!

Cheers !!

[slybass3000]

Originally Posted by christoph h.

Sorry, but I don't think the E Blues scale is a good choice.

You are totally missing out on the opportunity to work with the notes F# and F. Also, thinking about the wrong tonality (major third "B" over chord Gm) and "not emphasising the wrong note" may look like a nice short cut now. But it's a dead end street when trying to play really interesting stuff and not just noodling around in familiar patterns.

If the song is in E min ,yes I think it could be very useful, may be not for the whole solo but few phrases with the Blues scale would sound awesome and powerful IMO.

But like I said these 2 chords could be seeing as both Dorian and the 9th is a great color on both ;-)

[Mark Wilson]

Blues Scales.

Then chromatic the hell out of some licks.

I wouldn't think about it. I'd play whatever, and once you play something you like, try it again.

[Chrisk-K]

Em9 has E, G, B, D & F#.
Gm9 has G, Bb, D, F & A.

So, Holdsworth would play a D major over the progression and use an F & an Bb as passing notes.

[slybass3000]

Originally Posted by Chrisk-K

Em9 has E, G, B, D & F#.
Gm9 has G, Bb, D, F & A.

So, Holdsworth would play a D major over the progression and use an F & an Bb as passing notes.

I think it depends on the duration of the chords, something that we actually don't know and it makes a big difference in the way to approach soloing over these 2 chords. But I do suspect that it is at least one bar or two bars each or even an open section on each one.

If the OP can clarify the solo structure, it would be more accurate for suggestions and ideas ;-)

[dpbass66]

PLaying stacked triads (ie G major triad, or its inversions, then Bb major triad, or its inversions) is another idea...or choose other triads from the notes......