Non-Diatonic Progressions (Guitar Lesson)

Chapter 1: (02:01) Introduction Lesson Overview

In past lessons pertaining to improvisation, Matt has discussed chord progressions that are diatonic to a specific tonality. A progression is "diatonic" to a major or minor tonality when all of the notes within it are contained in a specific major or minor scale. No accidentals or notes outside of the scale are included in a diatonic progression. Another way to describe diatonic progressions is to say that they contain no chromatic notes outside of a specific scale. At this point, Matt has explained and demonstrated diatonic progressions in both the major and natural minor (Aeolian) tonalities.

In this lesson, Matt addresses two solo sections from songs taught in Phase 3 that are examples of non-diatonic progressions. A non-diatonic minor progression is analyzed as well as a non-diatonic major progression. The music theory behind these progressions is analyzed in detail. You will also learn why certain scale options discussed in this series are effective choices when improvising over these progressions.

Note: Matt often refers to non-diatonic progressions as "bluesy" progressions. The chromaticism within these progressions tend to give them a more "bluesy" feel in comparison to diatonic progressions. Chapter 2: (07:20) Alive Progression The rhythm guitar part played under the solo section to Pearl Jam's "Alive" consists of four simple chords. A vamp consisting of the E, G, D, and A major chords is repeated 18 times. Basic "open" chord voicings are used for each of the chords. When performed live, the solo section is repeated an unspecified amount of times until the soloist Mike McCready brings the song to a close. Watch and listen at 00:38 as Matt demonstrates the progression.

Note: Fretboard diagrams to all chords discussed in the lesson video can be found under the "Supplemental Content" tab.

When determining whether a chord progression is diatonic or not, it must be closely examined from a theoretical perspective. Always follow the steps listed below:

1. Determine the key center. The key center is often referred to as tonic. Think of tonic as the home base that the chord progression seems to gravitate towards. Let your ears guide you when determining the key center. Keep in mind that the tonic chord is not always necessarily the first chord that occurs in the progression. It just so happens to be in this instance. The home base chord is E major. Consequently, we know that the chord is in some sort of E tonality. It could be in E major, E Mixolydian, E Lydian, etc.

Modes and additional tonalities such as the harmonic minor tonality and its subsequent modes will be discussed later in the series. For now, please refer to the following lesson sets for information about the modes of the major scale:

Kris Norris - Phase 2 Artist Lessons
Brad Henecke - Phase 2 Classic Rock Lessons

2. Analyze how the chords function in relation to the tonic chord.

Remember that the chords in a progression can be labeled with Roman numerals according to their relationship to the tonic chord. Uppercase Roman numerals are used for chords built from major or augmented triads. Lowercase Roman numerals are used for chords built from minor or diminished triads.

The Roman numeral analysis is based on the spelling of the major scale of the key center. We have already determined that the key center is E. The E major scale is spelled as follows: E, F#, G#, A, B, C#, D#, E.

In relation to this tonality, the chord progression consists of the following chords: I (E major), bIII (G major), bVII (D major), and IV (A major)

3. Determine whether or not the progression is diatonic.

Listed below are the chords that are diatonic to a major key. In the "Alive" progression, The G major chord (bIII) and the bVII chord D are not diatonic to the E major tonality.

I - Major
ii - minor
iii - minor
IV - major
V - major
vi - minor
viio - diminished

4. Determine which scales will work over the progression from a purely theoretical perspective.

If the individual notes within the chord progression are analyzed, the following list results: E, F#, G, G#, A, B, C#, D. Which scales contain these notes?

All of the notes within the E minor pentatonic scale are contained within the progression. E minor pentatonic is spelled E, G, A, B, D, E. The E major pentatonic scale also contains many of the same notes as the progression (E, F#, G#, A, B, C#, E) as does the E minor blues scale: E, G, A, Bb, B, D, E.

The E major blues scale also features many of the notes in the progression. It is spelled E, F#, G, G#, A, B, C#, E. It contains all of the notes in the progression except for D.

E Dorian (E, F#, G, A, B, C#, D, E) is also another option to consider.

Note: Fretboard patterns to all of the scales discussed in this lesson can be found under the "Supplemental Content" tab.

5. Determine which of the theoretical scale options are actually effective when applied to the chord progression. Improvise with each of the scales while playing with a backing track to decide what sounds appealing to you.

In the context of the solo progression and the larger context of the song, E minor pentatonic, E minor blues, and E Dorian are the most effective scale choices. The other options sound rather strange and inappropriate even though they work from a theoretical perspective. Oddly enough, playing the G# note from the major blues and major pentatonic scales does not sound appropriate over the progression. This is due to the fact that G# only sounds consonant in relation to the tonic E major chord. Chapter 3: (06:28) Improvised Solo Mike McCready's Approach to the Solo

Mike McCready once noted: "Basically, I copied Ace Frehley's solo from 'She,' which, of course, was copied from Robby Krieger's solo in the Doors' 'Five to One.'"

Note: Tablature to Mike McCready's original recorded solo on "Alive" can be found under the "Supplemental Content" tab.

McCready's recorded solo consists mainly of composed licks and a few improvised ideas. When Pearl Jam plays the song live, most of the solo is improvised. However, McCready, like most great improvisers frequently throws in memorized licks from his vast lead guitar vocabulary.

Matt's Approach to the Solo

Listen to Matt's interpretation of the "Alive" solo section. Matt improvises almost all of the solo. However, he includes several of the memorable licks from the original solo. When playing such a famous and memorable solo, it's usually a good idea to throw in some of the trademark licks to satisfy the audience's expectations.

Trademark Licks

Matt demonstrates the opening lick to the solo at 02:48

Another classic lick is demonstrated at 03:35. This lick occurs in measure 21 of the original solo.

A repeating lick is demonstrated at 03:50. Refer back to lesson 9 for review information pertaining to the importance and benefits of repeating licks.

A double stop lick involving fretted notes played against a drone high E note is demonstrated at 04:09. This lick begins in measure 25 of McCready's solo.

The recorded solo ends with an ascending series of memorized unison bend licks. Refer back to lesson 7 for information about unison bends. Ending a solo with a memorized lick serves as an excellent cue to the other band members to signal that the solo is ending. Chapter 4: (04:23) Rhythm Backing Practice your improvisational skills while Matt plays the rhythm part to "Alive." Remember to count! The progression is repeated 18 times. Chapter 5: (04:01) Heaven Beside You Solo The chord progression played under the solo to Alice In Chains' "Heaven Beside You" is an example of a non-diatonic progression in a minor tonality. Matt demonstrates the progression at the beginning of this scene. Listen to this example several times to internalize the sound of it.

When determining how to approach playing a solo over this progression, follow the same steps listed in the previous scene.

1. Determine the key center. The home base chord of this progression is E minor. Consequently, we know that the progression is in some sort of E minor tonality. It could be in E natural minor, E Phrygian, E harmonic minor, etc.

2. Analyze how the chords function in relation to the tonic chord.

The Roman numeral analysis for minor progressions is typically written based on the spelling of the natural scale of the key center. We have already determined that the key center is E minor. The E natural minor scale is spelled as follows: E, F#, G, A, B, C, D, E.

In relation to this tonality, the chord progression consists of the following chords: i(E minor), III (G major), II+(F# augmented).

Note: The "+" symbol indicates that a chord contains an augmented triad.

3. Determine whether or not the progression is diatonic.

Listed below are the chords that are diatonic to the natural minor tonality. In the "Heaven Beside You" progression, The F#+ chord contains an A# (Bb) note that is not diatonic to E natural minor.

i - minor
iio - diminished
III - major
iv - minor
v - minor
VI - major
VII - major

4. Determine which scales will work over the progression from a purely theoretical perspective.

If the individual notes within the chord progression are analyzed, the following list results: E, F#, G, A#(Bb), B, D. Which scales contain these notes?

All of the notes within the E minor pentatonic scale are contained within the progression. E minor pentatonic is spelled E, G, A, B, D, E.

E minor blues is another effective choice: E, G, A, Bb, B, D, E

E Dorian (E, F#, G, A, B, C#, D, E) is also another option to consider.

Note: Fretboard patterns to all of the scales discussed in this lesson can be found under the "Supplemental Content" tab.

5. Determine which of the theoretical scale options are actually effective when applied to the chord progression. Improvise with each of the scales while playing with a backing track to decide which options sound appealing to your ears.

In this case, all of the theoretical scale options work with the progression. Hopefully you are beginning to notice that the minor pentatonic, minor blues scale, and the Dorian mode are popular choices when improvising over a "bluesy" non diatonic progression regardless of whether the progression is played in a major or minor tonality. Chapter 6: (04:51) Written and Improvised Solo Jerry Cantrell's Approach to the Solo

Note: A transcription to Jerry Cantrell's original recorded solo can be found under the "Supplemental Content" tab.

Like many of his recorded solos, the solo to "Heaven Beside You" consists mainly of composed licks. When the solo section is performed live, Cantrell improvises the first half. He ends the solo with the same repeating lick from the original recording. This lick begins in measure 9 of the transcription.

Watch and listen as Matt demonstrates the original recorded solo and an improvised solo. What differences do you notice? What effect do these differences make on the overall sound and feel of the solo?

Note: The guitars on the original recording are tuned down 1/2 step. Matt is playing in standard tuning for the purposes of this lesson.

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