This track is what is known in the industry as a “box groove”. It’s a major key I-IV-V 12-bar blues with a slow change to the IV chord. You should hear that very identifiable major key 12-bar I-IV-V rhythm pattern. That pattern should alert you immediately that this track is wide-open for many soloing avenues.
What relates to all:
Since this is a major key I-IV-V blues jam its wide open and there are many options to consider. Much depends on what type of sounds you prefer or what emotions and moods you want to create. Are you feeling the sweet major sounds, or the minor bluesy sounds, or a combination of both?
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 over all the chords 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. A Major Pentatonic is the same as F# Minor Pentatonic, major and relative minor:
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.)
Play all your F# Minor Pentatonic scales, but start on and emphasize the A notes and it will be A Major Pentatonic and will exude that sweet major sound.
Try A Dorian over all the chords. Dorian 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 as a separate event:
Try switching pentatonics over each chord. Over just the A chord try A Minor Pentatonic & Blues and A major pentatonic. Over just the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. Over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.
Because the chords in this jam are dominant chords you can try the Mixolydian mode over each chord. 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 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 A Mixolydian over the A9 chord ask what major scale’s fifth note is an A note. The answer is D. The fifth note of a D major scale is an A note. So play D Major scales over the A9 chord but emphasize the A notes for A Mixolydian. D Major and A Mixolydian consist of the same notes:
A Mixolydian Mode -A, B, C#, D, E, F#, G
D Major scale – D, E, F#, G, A, B, C#
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 switch to the root of the mode.
Over the A9 chord try A Mixolydian, (same as D Major). Over the D9 chord try D Mixolydian, (same as G Major). Over the E9 chord try E Mixolydian, (same as A Major).
Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example play A Major Pentatonic over the A9 chord, then switch to A Minor Pentatonic & Blues over the D9 chord. Then try A Major Pentatonic again when you get to the E9 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 A Minor Pentatonic & Blues over the E9 chord instead of the major, or maybe Dorian – get creative and have fun!