Hank Marvin is jealous. Just great Dave.
You have a wonderful lyrical approach that never fails to hit the mark. Well done Rafa!
I like the Pretty Woman quote. This is something that requires you to play the changes. In the A part you can get away with a bluesy thing, but straight minor pent will sound off with the rest of the form. Try A Mixolydian. The b7 will give you that bluesy thing. The B and C parts really need you to pay attention to the root of the chord.
From a "what scale to play" over the entire form, A major is where it's at. A minor pent will sound very off, because it is. Just make sure to hit a chord tone on each change. And keep it within the A major key center.
From a modal standpoint, that's A Ionian for the I, D Lydian for the IV, and E Mixolydian for the V. All contain the notes from the A major scale. You just start and end the scale on the 1, the 4, or the 5. A-D-E.
The other approach (and the way I like to do it) is play the triads for each chord in the form as arpeggios. The 1-3-5 of each individual chord. Augment the triads with other notes from the A major scale with the 1-3-5 being "home".
Fezz, I was playing through the chords and using arpeggios (I'm really a bass player so I do that a lot) but I wasn't loving what I got in the end. I tried to stay with the A&B&C sections and kept them separate, staying with melodies and scales that seem to fit. I really like throwing a diminished scale in from time to time. I'll follow the game plan better next time. Thanks!
Great stuff by all BTW. And remember the exercise, and purpose for these PMW threads is to exercise your compositional chops. Not your lick library.
Click to expand...
