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When we adjust the scale to include the G{{stop}}, we actually get A Harmonic Minor. This has the unfortunate effect of tonicizing the A from the G{{s}} -> A movement, which is neither the tonic of the key or a member note of the current chord. It also creates the whole+half step jump from F to G{{s}}, which further tonicizes the A and creates an exotic feel. We have numerous options to overcome this. The first is to simply use the E Major scale over this chord. The problem with this only 3 of the 7 notes are from the original key of C Major, and it contains C{{s}}; this can seem disjointed with the rest of the solo, particularly if this phrase is part of a musical idea that has phrases in C Major over other chords. A better option may be to simply sharpen the F in A Harmonic Minor. This creates the ascending version of the melodic minor scale. This is more closely related to C Major and avoids the whole+half step from F to G{{s}}. Since A is not part of the chord, if we avoid emphasizing it in our phrasing, it won't draw too much focus away from C, while incorporating the non-diatonic tone G{{s}} of the E major chord.
→Current Chord
=== Current Chord ===
As the harmony progresses from chord to chord, we need to be aware of what chord is currently being played in the rhythm. Our phrasing should adjust with the harmony, enhancing its visibility. We can make use of arpeggios or simply target (accent/sustain) notes from the chord. This helps make the solo sound more like part of the song rather than simply dropped on top of it.
In the example below, we can see that all of the notes from the chords belong to C Major. However, rather than playing all of the notes from C Major over each chord, we can limit ourselves to or emphasize those that belong to the current chord.
Progression I vi IV V7 I
C major chord C E G C
In particular, we want our tension and release to align with the harmony. A phrase that ends on the tonic note will be less effective over the vi and IV chords than the I. It will be confusing and conflicting to play that phrase over the V7V{{7}}. We can also emphasize the harmonic movement by moving from mutually exclusive notes between adjacent chords. For example, playing G on the last beat of the C major chord, then playing A on the downbeat of the A minor chord. Then E -> F for A minor -> F major, A -> B for F major -> G major 7, and B -> C for G major 7 -> C major.
The current chord is especially important for non-diatonic chords, whose notes will often clash with some of the diatonic notes from the key. Here we can adjust the scale, flatting and sharping the appropriate notes to make them match the notes of the chord, possibly creating a [[Exotic Scales#Synthetic Scales|synthetic scale]]. For instance in the key of C Major, instead of playing E minor, we the progression may borrow from the parallel C Minor key and use the non-diatonic E{{f}} major chord, which consists of (E{{b}} G B{{b}}). Thus, instead of playing E and B notes, we play E{{b}} and B{{b}} in their place.
Eb major chord Eb G Bb
E major chord E G# B
C Major key C D E F G A B C
Adjusted scale C D E F G# A B C = AhmA Harmonic Minor Adjust again C# D# E F# G# A B C# = EMajor Adjust again C D E F# G# A B C = Amm (asc)A Jazz Minor When we adjust the scale to include the G{{s}}, we actually get A Harmonic Minor. This has the unfortunate effect of tonicizing the A from the G{{s}} -> A movement, which is neither the tonic of the key or a member note of the current chord. It also creates the whole+half step jump from F to G{{s}}, which further tonicizes the A and creates an exotic feel. We have numerous options to overcome this. The first is to simply use the E Major scale over this chord. The problem with this only 3 of the 7 notes are from the original key of C Major, and it contains C{{s}}; this can seem disjointed with the rest of the solo, particularly if this phrase is part of a musical idea that has phrases in C Major over other chords. A better option may be to simply sharpen the F in A Harmonic Minor. This creates the jazz minor scale. This is more closely related to C Major and avoids the whole+half step from F to G{{s}}. Since A is not part of the chord, if we avoid emphasizing it in our phrasing, it won't draw too much focus away from C, while incorporating the non-diatonic tone G{{s}} of the E major chord.
=== Using Chromatics ===