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by Paul Anastasio
the beats it should sound as though I'm really in the driver's seat on my
improvisation.
Now to give a tune continuity you can take advantage of the fact that the scales of
the three basic chords use almost the same notes. An interesting thing about the V
chord (we're discussing the key of A so in this case the V chord would be E) is that
if you play the notes of the E Mixolydian mode (the major scale with a flatted
seventh scale degree) over the E chord that will make your improvisation sound as
though you were improvising over an E7th chord, giving an added "push" back to
the I chord.
While it sounds at first as though it's almost impossible to reshape your
thinking each time the chord changes, the fact is that with each new chord comes a
new set of chord tones ("safe" notes). Even if we use the same scale for all three
chords the listener is probably going to get more enjoyment out of a solo that
makes liberal use of the chord tones of the chord of the moment. That makes an
improvisation sound consonant and "right".
Without knowing chords and where the chord tones of each "chord of the moment"
are on your instrument there is a very real danger of creating drifting, unfocused
solos that sound like random "noodling" around the scale of the I chord. Music is
built on chords and we as improvisers can exploit chord and scale knowledge to
build consistently better solos.
Copyright 2008 by Paul Anastasio All Rights Reserved Used by permission of the copyright
holder
BIO
Initially classically trained, Paul Anastasio soon began exploring the world of fiddling. In
the mid-1970s Paul studied and performed with Joe Venuti. Beginning in 1978, Paul
toured with Merle Haggard, Asleep at the Wheel, Larry Gatlin, Loretta Lynn and many
others.
Paul is the owner of a small CD label, Swing Cat (www.swingcatenterprises.com), writes
a regular column for Fiddler Magazine and also teaches privately. He has made thirty
trips to southern Mexico, recording and studying a beautiful local fiddle style.