The rules are certainly there mainly to “resolve” to the tonic (root) at the start and end (hence the suggestion to use the root note at the start and end). However, you can play any note in a scale that works in the key. Soloing starts with knowing the harmony and playing with it (playing within a key). It uses dynamics and articulation (technique). It’s also about tension and release (thoughtful decisions). We love music that evokes emotion, yet it is bound by physics. What we’re doing is providing rules to get a foundation and saying to play with the parameters you have at your disposal.

Hello Colin and thanks for the great question.

There is no hard rule that you must start/end with the root. Since music is an art, you will often learn some common methods or rules then you break them to sound unique.

I hope this helps!

Thanks for the question. 1. Play A minor scale over the Am chord and E major scale over the E chord (pentatonics are an option here too). 2. You could play A minor pentatonic over the entire progression, but try playing F# instead of G when you hit the E major chord. This type of simple substitution is sometimes helpful for wrapping your head around a good strategy. This one may make more sense if you list out the notes of each chord and the notes of the Am pentatonic scale. I hope this helps!

Hi Barry, Thank you for your great question. I view this as a strategic decision. What I find is that you start with the “root” scale if the progression is in a single key. Many guitarists shift their playing in the scale as the chords progress. Others don’t think about the chords at all. This works, but you may find yourself hitting a rut (or sounding repetitive). That’s when you want to alter your strategy a bit. If you can’t smoothly transition as chords change, then that strategy may not be for you at this time (or it may be a growth area). I think the best way to think of it is to start with a root scale, try to shift your playing with the chords within the root scale, then when you’re good with that try to shift to another compatible scale or pattern.

Also, I recommend targeting single-octave scale patterns that you can play in two or three locations (different octaves). Sometimes all you need is to change the octave or dynamics to add some interest.

As with anything, your strategy should work for you! My goal is to give you creative options.

I hope this helps!

This is a great question. The trick is in the chords. If you are playing D minor, you can play D aeolian, D phrygian, D dorian, or D locrian because the chord tones are in all these modes. However if you aren’t in the “correct key” at least one note will be out of key. When you say you’re playing a D dorian song, you’re implying that you’re in the key of C. When you’re playing a D aeolian song, your’e implying that you’re in the key of F. So at least one note is different. The difference is D aeolian flattens the B. This note will sound out-of-key if a B is played at the same time.

So, can you? yes (but be careful). The best learn this nuance and use it to make their solos sound “different”.

Thank you for the great question! Honestly, it depends for me. Sometimes I am playing a repetitive riff/lick and I throw in a passing tone to alter the sounds. I also consider tension and relief. If I play a chromatic tone, I am very likely creating tension that will feel/sound great when it is resolved. The tension adds the interest. The resolution makes it sound “right”. Other times I play a particular scale because I know it fits the song. One technique that I’ve been trying is using two different scales that should work (like your example) and selectively playing the “extra notes” to mix the sounds. These are just two mental shortcuts that I use to play uniquely.