Help finding a scale for a chord progression

  1. I am familiar with the notes in each chord yes. I played guitar for about 15 years so I have the intuition but I never learned the actual theory past pentatonic/blues or the major/minor scales and recently I've decided to do it.

  2. Thanks for the reply! I definitely don't want to only play the Bm notes over Bm and the F notes over the F, I do like the idea of letting some notes rub against the "wrong" chord, makes thing much more interesting as long as it's done right, not lingering on them for too long and using them more like embellishments or passing notes on the way to the "right" notes. I'm not very good at it but I guess that it's just a matter of practice and familiarity with the chords.

  3. First thing that popped up in my head was G major, which has a Bm chord and which can 'borrow' an F chord from G minor or G mixolydian (mixolydian being major with a b7).

  4. Could just pull a Satie and combine the chords to make your own scale. B - C - D - F - F# - A. It’s sort of “grammatically/theoretically” incorrect because there are two F’s, but musically there’s nothing wrong with it and it would sound pretty funky and cool I would imagine with the two augmented seconds.

  5. Funnily enough I was actually listening to Satie a few days ago, I think it was Gnossienne No.6 that made me wonder how do I solo over chords that I don't see a common scale I could use for.

  6. The notes are B C D F F# A. If you're OK with respelling F as E#, you can play B Ukrainian-dorian b2 (same notes as the Arabic scale Athar Kurd), which goes B C D E# F# G# A.

  7. Any B minor scale (Aeolian, Dorian, Melodic Minor Ascending, "bebop minor", etc.) over Bm; any F major or dominant scale (Ionian, Mixolydian, Lydian, "bebop major", augmented, diminished, whole-tone) over F.

  8. B blues scale if it has to be a single scale. But you could also try two different scales, for example B minor and F major that's the same notes as D major and D minor (basically parallel major and minor). You could play them as diatonic or pentatonic scales. You could also try B Dorian and F Lydian (same notes as A major and A minor - and again, A major and A minor pentatonic scales would also work).

  9. to me, that's in C major and Bm is borrowed from lydian. Playing in C major pentatonic should work fine. It could also be D major and the F is bIII, in that case, play in D major and D minor, changing key constantly, preferably but not necesarily in major with B minor and minor with F. You could also be in E minor, I guess. B minor is the V and F is borrowed from phrygian. E minor pentatonic should work as well. Just remember that if a note outside key sounds good, you're not doing it wrong.

  10. Technically you could just play a half whole b diminished scale (B C D Eb F F# G# A), but that likley wouldn’t sound the way you want it to. I’d recommend using different scales and I personally would even try to emphasize the notes that are different between the scales

  11. Well, it depends. If you want to make each chord have its own unique flavor, you'd have to change the scale for each chord. But if you don't, if you prefer to find a common sound for both scales (which is why I suppose you made the question in the first place) you could totally use the HW diminished scale. This will make both chords kinda fuse together tho, as they both will use exactly the same scale and the same notes.

  12. One is tension and one is release. I’d pick either a Bm scale or an Fmaj scale as “home” and then introduce the chord tones from the other (or not as a way to create tension) before going back to the “home” scale. Depends totally on the context, but that’s how I usually approach two chords that don’t “coexist”.

  13. There's technically no mode that contains both a i and a bV, because a minor tonic requires a perfect interval, which doesn't work with a flat 5 major chord. I like to see it as B locrian, but with a borrowed minor chord as a tonic instead of a usual diminished chord. Even if its kinda cheating, it's a cool trick to have make Locrian somewhat useable as a scale, and it is a very fun chord progression.

  14. F Dominant Diminished if you want to treat the F as the root. The structure will probably feel like it wants to resolve to Bb at some point because of the implied dominant sound, but if you fiddle around with enough E naturals as leading tones back to F then you could maybe make a convincing auditory argument that F was the designated tonic. Or just treat the whole thing modally.

  15. Maybe not a straight answer to your question, but always be open to the idea of cheating around your chords with some filler passing chords. You can go Bm to B dim to F and then C (since B dim pulls to C for example) or to C then F. Play around how you accent them, on what chord in the progression you emphasize. The idea is to minimize movement in each of the three (or more) voices between the chords and for playing a melody on top, you can frame your next move by dropping your accidentals in relation to the final chord a bit at a time (drop first c# then f# then b->b flat to end on F for example) or just use all notes in both keys and go for some spicy chromaticism. There is a lot of fun if you consider chords that are almost the one you have as a filler and it can lead to beautiful harmonic movement, sometimes completely by accident.

  16. I've messed with this chord prog before! I liked using B Phrygian (G scale with B as "home") over the Bm chord and an A minor scale (C scale with A as "home") over the F chord. The scales are almost identical save for that F#/Fnatural interchange, so just avoid that in your melody and let the chords bear the weight of the context changing back and forth. My secret was to slip a Cmaj7 chord in between the Bm and F to strongly establish the B Phrygian sound while also giving me an excuse to stably jump down a 5th to that F chord. You could also alter the F chord to be an Fmaj7b5 (a tight voicing of Fmaj7#11) to keep that B cemented as a pedal note throughout your progression

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