This is a major key I-IV-V blues jam in the key of C. The C chord is the I chord, F is the IV chord, and G is the V chord. This jam is what’s called a “slow change” to the IV chord. So you are staying on the I chord at first for four bars before it switches to the IV chord for two bars.
The first thing to note about this jam is that it is a major key I-IV-V blues progression, so it is wide open for soloing options. Soon you will get used to hearing these I-IV-V blues type shuffle progressions and will able to identify them immediately.
What Relates to all the chords:
There are many soloing avenues with major key I-IV-V blues progressions so a lot will depend on your playing style and what type of mood or sounds you want to create. Here are some suggestions to get you started.
For that minor bluesy sound try C Minor Pentatonic & Blues over all the chords. Since this is a major key I-IV-V blues progression Minor Pentatonic & Blues will give killer bluesy sounds and is probably the first choice for many players.
C Minor Pentatonic & Blues = C, Eb, F, Gb, G, Bb
For that sweet major bluesy sound try C Major Pentatonic over all the chords. Remember that for most major key jams you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam. This will give you that sweet major bluesy sound that is quite different than the above minor sound.
C Major Pentatonic – C, D, E, G, A
C Major Pentatonic is the same as A Minor Pentatonic. C major and A minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play A Minor Pentatonic scales, but start on and emphasize the C notes and it will be C Major Pentatonic and have that sweet major happy sound. You shift the tonal center of the A Minor Pentatonic scales to C by starting on, resolving to, and emphasizing the C notes, not the A notes.
By shifting those scales to the root, C, they take on that real major happy sweet sound as opposed to the darker, bluesy minor sound. You may want that sweet major sound for this jam. Remember that it all comes down to the sounds, moods, and textures that you want to create with the music.
C Major Pentatonic – C, D, E, G, A
A Minor Pentatonic – A, C, D, E, G
(Same notes – just emphasize the root of the mode, C.)
Try C Dorian over all the chords. Because we know that both major pentatonic & minor pentatonic will work we then know that the Dorian mode will also work. Remember Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swings, and shuffle progressions. The Dorian mode also sounds great over minor chords.
The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always the 2nd mode in any major key. Since Dorian is the second mode in any major key, to play C Dorian ask what major scales 2nd note is a C note. The answer is Bb. Bb Major has the same notes as C Dorian:
C Dorian = C, D, Eb, F, G, A, Bb
Bb Major = Bb, C, D, Eb, F, G, A
(Same notes – just emphasize the root of the mode, C.)
C Dorian is the same as Bb major, (C Dorian=Bb major). So play all your Bb major scales but start on and emphasize the C notes for that killer Dorian tonality.
Also try mixing C Minor Pentatonic & Blues, C Major Pentatonic, and C Dorian over all the chords. Notice the cool differences between the major versus the minor and also the five note pentatonics versus the seven note diatonic scale. Cool stuff!
Treat each chord like a separate event:
With bluesy 12-bar progressions like in this jam you have a lot of time on each chord. This is fantastic for treating each chord as a separate event. Remember to listen to the rhythm and time your changes so you change your scale or landing notes as the chords change. Be careful not to get caught on the wrong chord. Here are a few avenues to try that will get you started:
Try moving Minor Pentatonic & Blues over each chord. Play C Minor Pentatonic & Blues over the C chord.
Play F Minor Pentatonic & Blues over the F chord. Play G Minor Pentatonic & Blues over the G chord
Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, (C Major Pentatonic = A Minor Pentatonic). Play F Major Pentatonic over the F chord, (F Major Pentatonic = D Minor Pentatonic). Play G Major Pentatonic over the G chord, (G Major Pentatonic = E Minor Pentatonic).
Try mixing up the Minor Pentatonic and Major Pentatonic over each chord. This is a very cool device that many blues players like BB King often utilize. Get creative and experiment with this technique.
Play C Major Pentatonic over the C chord then switch to C Minor Pentatonic over the F chord. Then try C Major Pentatonic over the G chord. Listen to how well this technique outlines and implies the chord changes. Mix this up a bit, maybe the next time around the progression try C Minor Pentatonic & Blues over the G chord. Try it out and see what sounds best to your ears
Try moving the Mixolydian mode over each chord. Because the chords used in this jam are 9th chords, Mixolydian would be a great mode to utilize.
Whenever you see 7th or 9th chords you instantly want to think of Mixolydian mode as a possibility, 9th chord – 1,3,5,b7, 9. This is an incredibly useful mode, especially for blues and jazz playing.
Dominant 7th and 9th chords have a b7 in them so Mixolydian is a perfect modal choice as it is considered more a major mode and has that b7 interval in the mode:
Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7
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. To determine the parent major scale for C Mixolydian, ask what major scales’ fifth note is a C. The answer is F. The 5th note of an F major scale is C. So to play C Mixolydian over the C9 chord just play all your F major scales but just start on and emphasize the C notes and its C Mixolydian. Follow the same formula for the F and G chords.
C Mixolydian = C, D, E, F, G, A, Bb
F Major = F, G, A, Bb, C, D, E
(Same notes – just emphasize the root of the mode, C.)
Play C Mixolydian, (= Fmajor), over the C9 chord. Play F Mixolydian, (= Bb major), over the F9 chord. Play G Mixolydian, (= C major), over the G9 chord.
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. So be sure to shift emphasis to the root of the mode. Get creative, experiment, and rock on!