This progression is slightly different than a standard 12-bar progression. In this track you double up on the turnaround. So it has four extra bars making it a 16-bar progression. Listen carefully to the track and you will hear that repeating turnaround. Adds a bit of interest and a cool rest.
What relates to all:
- Since we are in minor key we can play B Minor Pentatonic & Blues scales over all the chords as that relates to all:
B Minor Pentatonic & Blues: B, D, E, F, F#, A
- If we analyze the chords further we see that there is no major IV chord and no minor ii chord so we can also utilize B Natural Minor scales over both chords as those scales also “relate to all”. B Natural Minor is also called the B Aeolian Mode.
If you are not familiar with Natural Minor you can use the concept of major vs. relative minor to play major scales. Every major key has a relative minor key that has exactly the same notes in it. The relative major of B minor is D major. B Natural Minor scales have the exact same notes as D Major:
B Natural Minor = B, C#, D, E, F#, G, A
D Major = D, E, F#, G, A, B, C#
(Same notes – just emphasize the root of the mode, B.)
Play all your D Major scales but focus on and emphasize the B notes for B Natural Minor, (B Aeolian). Start on and resolve licks to the B notes as well as other strong chord tones within both chords.
For some real head turning unexpected licks try the half-whole diminished scale. This eight-note scale is also known as the symmetrical scale and is a very commonly used scale in jazz guitar. Generally this scale is utilized often over dominant chords, but you can try it in other applications. Often that dissonant sound can be utilized to turn heads and to come up with some very outside the box sounding licks.
Half-Whole Diminished Scale = 1, b2, b3, 3, #4, 5, 6, b7
Notice that the interval pattern of the scale alternate between half steps and whole steps. This is why it’s called the half-whole diminished scale. It is also why it’s called the symmetrical scale, as the interval pattern of a half step followed by a whole step repeats throughout the scale.
Treat each chord as a separate event:
In this jam there is a lot of time on each chord so you can try many different soloing avenues over each chord. Remember that slow moving chords scream out for soloing over each chord independently.
- Try switching Pentatonic scales or Natural Minor scales over each chord. Over the Bm7 chord try B Minor Pentatonic & Blues and B Natural Minor. Then over the Em7 chord try E Minor Pentatonic & Blues and E Natural Minor, and over the F#7#9 try F# Minor Pentatonic. Generally you can treat 7#9 chords as minor chords when considering soloing options.
- Over the G9 chord try G Mixolydian, (same as C Major). Mixolydian mode is a great mode for playing over dominant 7th and 9th chords. This is an incredibly useful mode, especially for blues and jazz playing.
The Mixolydian Mode is a seven-note scale often used in blues and rock. Mixolydian is considered a major mode and is always the 5th mode in any major key. Often it’s the mode of choice played over dominant chords, like dominant 7ths and 9ths. Mixolydian is basically a major scale, (Ionian Mode), but with a b7th note instead of a natural 7th.
Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7
Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7
Try this mode over dominant chords like 7th and 9th chords when treating each chord as a “separate event”. Mixolydian is the 5th mode in any major key. Remember, the key is to shift the tonal center to the root of the mode.
So to play G Mixolydian over the G9 chord ask what major scale’s fifth note is a G note. The answer is C. The fifth note of a C major scale is a G note. So play C Major scales over the G9 chord but emphasize the G notes for G Mixolydian. C Major and G Mixolydian consist of the same notes:
G Mixolydian Mode -G, A, B, C, D, E, F
C Major scale – C, D, E, F, G, A, B
Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode.
- Try various arpeggios over each chord and then mixing them in with their respective scales.
Since Dorian works great over minor type chords you also can try B Dorian, (A major), over the Bm7 chord and E Dorian, (D major), over the Em7 chord.
Remember to listen for when the chords change and be sure to change scales or modes appropriately. Get lost in the track and have fun with it!