This jam track is in the key of G and it’s a 12-Bar blues I-IV-V slow change progression utilizing 7th chords. Two things should scream when you hear this jam. The first is that it is a major key I-IV-V blues jam and therefore wide open to all kinds of soloing opportunities. The other is that the chords are dominant 7^th chords so Mixolydian and Major pentatonic should be on your list of potential soloing devices.

What Relates to all the chords:

There are many soloing options in this jam as it’s a major key I-IV-V 12-bar blues. Which avenues you choose will depend on your playing style and what type of mood or sounds you want to create.

Try G Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic is often the first choice amongst blues players over I-IV-V blues progressions.

G Minor Pentatonic & Blues = G, Bb, C, Db, D, F

Try G Major Pentatonic over all the chords for that sweet major sound. G Major Pentatonic is the same as E Minor Pentatonic. G Major and E Minor are relative major and minor. Play all your E Minor Pentatonic scales all over the neck, but start on and emphasize the G notes and it will be sweet sounding G Major Pentatonic. Keep resolving back to those G notes to hammer home the major tonality.

G Major Pentatonic = G, A, B, D, E

E Minor Pentatonic = E, G, A, B, D

(Same notes – just emphasize the root of the mode, G.

Also try G Dorian over all the chords. Dorian works great over major key I-IV-V blues, swing, and shuffle progressions. In these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both major and minor.

Dorian is the 2nd mode of the major scale so ask what major scales’ 2nd note is a G note. The answer is F. An F majors scales 2^nd note is a G note. So G Dorian is the same as F major, (G Dorian=F major). So play all your F major scales but start on and emphasize the G notes and you have G Dorian.

G Dorian = G, A, Bb, C, D, E, F

F Major = F, G, A, Bb, C, D, E,

(Same notes – just emphasize the root of the mode, G.)

Try mixing G Minor Pentatonic, G Major Pentatonic, and G Dorian over all the chords. See what sounds you like best and experiment with all the above techniques and devices as well as come up with your own avenues.

Treat each chord like a separate event:

• Switch Pentatonics over each chord. Over the G7 chord try G Minor Pentatonic & Blues or G Major Pentatonic. Over the C7 chord try C Minor Pentatonic & Blues or C Major Pentatonic. Over the D7 chord try D Minor Pentatonic & Blues or D Major Pentatonic.
• Try Mixolydian mode over each chord. The Mixolydian mode works great over 7th chords as there is a b7th interval, (1,3,5,b7). There is also a b7th interval in the Mixolydian mode (1,2,3,4,5,6,b7). Mixolydian would be the mode of choice over the chords.
• Mixolydian mode sounds great over dominant chords like 7ths and 9ths. 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 interval instead of a natural 7^th:

Mixolydian Mode = 1, 2, 3, 4, 5, 6, b7

Major Scale (Ionian Mode) = 1, 2, 3, 4, 5, 6, 7

Over the G7 chord try G Mixolydian (=C Major). Over the C7 chord try C Mixolydian (=F Major). Over the D7 chord try D Mixolydian (=G Major)