[bmurnahan]

Sorry to disagree, but we seem to have a difference of definition regarding passing tones. My definition of a passing tone is a non chord tone situated between two chord tones often separated by a third - much more commonly than just a whole step. And I think that definition also conforms to how Kirk uses the term too.

You are right, that would be the classical definition of a passing tone. I prefer to think in terms of passing tones as notes out of the key, hence my definition. It makes it easier for me keep track of things that way.

I use chord tones, scales tones and passing tones as my own personal distinctions.

The A minor example going to F or F# is good. A lot of local folk music that I play here is in the Dorian mode (of A) - so I often have to play F# and G natural, F natural would sound wrong in a lot of those dorian mode melodies, despite it being the more 'natural' choice for songs in the key of A minor
I know this is a different concept from lead soloing with modes within a major or minor key.

I don't know. If I understand you correctly it's exactly the same.

why omit some of them by forcing others into scales?

How does a scale force you to omit notes? You still have access to all 12 notes. Chromatic passages are still available.

They can all be used ... scales are restricting, I don't want to feel restricted when I'm creating a solo.

Scales are just scales. They are not restricting in and of themselves.

Kirk, I don't think that our approach is that different. I think chords first as well. I don't think about modes and scales during a solo. My whole point of view on scales gets down to this.

1. They are great technique builders when practiced in combinations. Not just up and down scales.

2. They help train the ear.

3. They give you a systematic way to explore some of the color tones, especially in a modal context.

4. They contain all of the chords you are talking about. Practicing the harmonized scale is a great to learn chord melody playing and to play lines in harmony and learn the fretboard.

If you were to sit on on one of my lessons you would see heavy emphasis on knowing where the chord tones are located.

At the same time, there are places where a scale is stylistically called for. They don't call it the blues scale for nothing. Some scales are nothing but chord tones. The pentatonic scale is 1 2 3 5 6. A triad plus the 6th and 9th.

How about the altered scale, melodic minor starting on the 7th for altered dominant chords. Consider B7 altered.

B C D Eb F G A B
1 b9 #9 3 b5 #5 b7 1

All the main chord tones plus all the possible alterations. How can having more knowledge and ways of looking at things be restricting?

If I would have heard you play and I didn't know anything about you, PT or any of these discussions I would have thought, what a great player. In fact, I still have that thought. It would never have occurred to me to think, this guys a chord player.

I just listen to guitar players and I like them or I don't for different reasons. If a guy happens to play a one octave scale I don't put him on a box and say, oh the guys a scale player. I love Larry Carlton, he has a strong chord on chord approach to playing but I love Pat Martino as well. He is a very linear player.

I have never argued against your approach, even though you may have taken it that way. I thought this lesson was brilliant. In fact, out of all the lessons you have done, this is my favorite. It was very easy to see exactly what you were doing. The people here are lucky to have your insights and lessons.

I guess I am just trying to say there are many ways to think about things. The options are there for those that want to explore them.