Here we have a Mambo groove in the key of A starting off with a cool A6th chord slide. Again it’s a 12-bar I-IV-V with a slow change to the IV chord. So it’s pretty wide open for soloing opportunities.

What Relates to all the chords:

Remember that with major key I-IV-V blues, swings, and shuffles you can usually use Minor Pentatonic, Major Pentatonic, and The Dorian Mode over all the chords. These types of blues jam are wide open for many possible soloing opportunities.

Try A Minor Pentatonic & Blues for that minor, bluesy vibe.

A Minor Pentatonic & Blues – A, C, D, Eb, E, G

Try A Major Pentatonic over all the chords for that sweet major sound. Remember that for most major key jams you can use Major Pentatonic over all the chords. This will give you that sweet major bluesy sound that is quite different than the minor sound:

Major Pentatonic = 1, 2, 3, 5, 6

A Major Pentatonic = A, B, C#, E, F#

A Major Pentatonic is the same as F# Minor Pentatonic. A Major and F# minor are relative major and minor. Play all you’re F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and have that sweet major sound.

A Major Pentatonic – A, B, C#, E, F#

F# Minor Pentatonic – F#, A, B, C#, E

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

Try A Dorian over all the chords. Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swings, and shuffles. A Dorian is the same as G major, (A Dorian=G major).

A Dorian = A, B, C, D, E, F#, G

G Major = G, A, B, C, D, E, F#

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

So play all your G major scales but emphasize and start on the A notes and you have the cool minor sounds of A Dorian. Remember to keep going to back those A notes and make that the tonal center.

Try mixing A Minor Pentatonic, A Major Pentatonic, and A Dorian over all the chords. Explore and see which sound best to your ears.

Treat each chord like a separate event:

• Be sure to time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over a given chord.
• Try moving Minor Pentatonic & Blues over each chord. Play A Minor Pentatonic & Blues over the A chord. Play D Minor Pentatonic & Blues over the D chord. Play E Minor Pentatonic & Blues over the E chord.
• Try moving Major Pentatonic over each chord. Play A Major Pentatonic over the A chord. Play D Major Pentatonic over the D chord. Play E Major Pentatonic over the E chord.
• Try Mixolydian mode over the D7 and E9 chords. Mixolydian works great over 7th and 9th chords. You don’t have much time on each chord as they are moving by pretty fast, but you can sneak a cool lick in there quickly. Mixolydian works great over dominant chords like 7th and 9^th chords as they contain a b7th interval. That b7th interval is also a keynote in the Mixolydian mode:

7^th chord = 1, 3, 5, b7

9^th chord = 1, 3, 5, b7, 9

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

Mixolydian 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. 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,

Over the D7 chord try D Mixolydian (=G Major). Over the E9 chord try E Mixolydian (=A Major).