I've also found - and this will sound weird, you can almost play just about any whole note within a given lead - not necessarily where you can have every note be a 'stand alone' note that phrases within a given scale can end on, but passing notes or chromatic runs can and do encompass almost all whole notes and are 'available' within a given scale. This doesn't mean you're necessarily going there as much as that the possibility exists. .
dleonard wrote:Good advice all around, but remember one more thing.....
The difference between Mixolydian(major sounding) and Dorian(minor sounding / Bluesy) is JUST the 3!!! They simply aren't that different. Off the top of my head I can think of Jerry mixing these two up big time in the China-Rider segue. Try it out over a nice 73-74 version...think mixo, but throw in the minor 3rd for some bluesy accents. I think it'll free you up knowing that the one note is the only difference.
Someone had a great post a while back on the hierarchy of chord tones that sound "correct"
1-Obvious easy fit
5-next best, works for either major/minor (other note in a power chord)
3-note making the chord major/minor
Hope this helps
Stevo123 wrote:I tend to think of slight transient bending of the 2nd scale tone as almost it's own separate scale tone that can be brought into play with the mixing of minor and major. Where you don't truly get all the way up to the minor third. Because of that it doesn't carry quite the same weight as playing an in-tune third.
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