What I also agree with is the fact that all those different
tools we use to find our sound are in the mixing of the illusive scales and chords.So I made the point of looking at your choice of scales and chords as a way of discovering a sound.Lets use the key of E.
My song is about the demise of a relationship so I could have the softer section reflecting happy thoughts while agression is reflected by power chords or faster double timing.So when playing the E maj chord you might arpeggiate
the softer mellower section.Now to allow for some dissonance of memory add a little Gb mote while accentuating
it as you feel.Maybe be even throw in a Bb to move that even futher away from your root.
Take that thought past the developement of your riff to the point of the turn around.
For the more agressive side of the riff I would take flat 5
of the scale {Bb} to build my riff.This is totally optional at this point but this is my example so that is my choice.I can at this point use the diminished arpegio building tension to slam into the Bb maj scale over the E chord.Look at the E chord = E-G#-B...The Bb maj scale = Bb-C-D-Eb-F-G-A-Bb THEN CONVERT IT TO SHARPS FOR THE G# IN THE E CHORD...
You see F = flat second,G = flat third,A = fourth,Bb = flat fifth,C = flat sixth,D = flat seventh,Eb = major seventh.
I would consider the sus 4 chord for power and the dom 7 chord for push off towards another sound...It is about texture,dinamics of the song,feel,grove.....
For tension the FLAT NOTEs EQUAL TENSION over the riff/motif allowing you what ever expression you wish.
But lest we not forget that the major tone intervals inside of the Bb major scale equal consonance inside of your dissonant part of the riff.
I simply would say that I am playing a Bb scale over the E maj chord emphasizing the most power on top of the Esus4 s'
double time rythme while you could try out this Bb maj scale.
I could record a version of my idea if that could help you.
IKe
