Here we have a standard major key 12-bar blues progression known in the industry as a Grinder. It’s one of the more common rhythmic grooves that you will find in the blues. Lots of time on each chord and this groove is often played as it is here with 5th chords and embellished with 6th chords.

What Relates to all the chords:

Try D Minor Pentatonic & Blues over all the chords for that minor bluesy vibe. Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords in a major key blues jam.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Major Pentatonic over all the chords. 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 takes its five notes from the Major Scale, just leaves out the 4^th and 7^th intervals:

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

Major Scale – 1, 2, 3, 4, 5, 6, 7

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

D Major Pentatonic is the same as B Minor Pentatonic. D Major and B Minor are relative major and minor. Play all your B Minor Pentatonic scales, but start on and emphasize the D notes and it will be D Major Pentatonic and have that sweet major sound.

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

B Minor Pentatonic = B, D, E, F#, A

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

Try D Dorian over all the chords. Dorian is considered more of a minor mode but works great over major key I-IV-V blues, swing, and shuffle progressions. 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. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6^th interval:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. So to play D Dorian, ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian. So play C major scales but start on and emphasize the D notes and you have D Dorian. If you want to learn more about modal playing and Dorian please see the written lessons in this series.

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

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

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

Try mixing D Minor Pentatonic & Blues, D Major Pentatonic, as well as D Dorian over all the chords for some cool tones. Killer sounds can be created by switching back and forth from the pentatonic scales to Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

• Be sure to time your changes over each chord and listen closely 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 D Minor Pentatonic & Blues over the D chord. Play G Minor Pentatonic & Blues over the G chord. Play A Minor Pentatonic & Blues over the A chord.
• Try moving Major Pentatonic over each chord. Play D Major Pentatonic over the D chord. Play G Major Pentatonic over the G chord. Play A Major Pentatonic over the A chord.
• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with 6th chords, Dorian is a great choice as that is a key interval in the Dorian mode (1,2,b3,4,5,6,b7)
• Play D Dorian, (=C major), over the D chord. Play G Dorian, (=F major), over the G chord. Play A Dorian, (=G major), over the A chord.

Here we have a slow blues jam in the key of E. This progression is a I-IV-V 12-Bar progression with a slow change to the IV chord. This is a slow tempo track so you have lots of time on each chord. This is perfect tempo wise if you to choose to solo by treating each chord as a separate event.

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. As soon as you hear these very identifiable blues progressions you know that they are wide open and you can go hog wild if you wish.

What Relates to all the chords:

For that minor bluesy sound try E Minor Pentatonic & Blues over all the chords:

E Minor Pentatonic & Blues = E, G, A, Bb, B, D

For that sweet major sound try E Major Pentatonic over all the chords:

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

Here is a little trick to make it easier to get to Major Pentatonic if you are not familiar. E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor so both are constructed from exactly the same notes:

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

C# Minor Pentatonic = C#, E, F#, G#, B

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

If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be E Major Pentatonic. By focusing on those E notes it will exude those sweet, happy, major sounds.

Try E Dorian over all the chords. Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales 2nd note is an E note. The answer is D. So E Dorian is the same as D major:

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

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

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

Try playing D major scales but start on and emphasize the E notes. Resolve to and focus on those E notes and you are playing in E Dorian.

Try mixing E Minor Pentatonic, E Major Pentatonic, and E Dorian over all the chords for some killer sounds. Experiment, explore, and keep trying new and interesting things on the instrument.

Treat each chord like a separate event:

In this jam the chords are moving pretty slow so you have a lot of time on each chord. This is perfect 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. Here are a few avenues to try:

• Try moving Minor Pentatonic & Blues scales over each chord. Play E Minor Pentatonic & Blues over the E chord and then play A Minor Pentatonic & Blues over the A chord and then B Minor Pentatonic & Blues over the B7 chord. Listen to how each pentatonic scale sounds as it outlines it’s corresponding chord.
• Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord,, and then play A Major Pentatonic over the A chord and then B Major Pentatonic over the B7 chord. Again, listen to the sounds of each scale and how they sound over each corresponding chord. It’s all about the sounds that you can create.
• Try mixing Minor Pentatonic and Major Pentatonic over each chord. For example try E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try E Major Pentatonic over the B7 chord . Listen to how well this technique outlines and implies the chord changes.
• Try B Mixolydian over the B7 chord. Remember that Mixolydian is one of the modes of choice when soloing over 7th and 9th chords. Mixolydian is the 5th mode in any major scale. So to find the corresponding parent major scale for B Mixolydian ask what major scales 5th note is a B note. The answer is E, so B Mixolydian = E major:

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

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

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

Play E major scales and licks but start on and emphasize the B notes and you are now playing in B Mixolydian. Keep coming back to and resolving to those B notes while playing E major scales and you get the mood of B Mixolydian.

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 2^nd 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!

Here we have a gritty I-IV-V 12-bar blues rocker in the key of A. It has a real minor sound to it because the pull-off embellishing notes on each chord are the b3rd and b7th of each chord. So it has a minor feel even though the chords are 5th chords.

Like I always state, it is so important to analyze the chords to get the full solo opportunity roadmap. This is important because here it steers us more toward minor type soloing avenues. You can certainly try some Major Pentatonic avenues but to my ear the minor avenues sound better as the major is just a little too sweet sounding in this jam. But certainly experiment and see what sounds best to your ears.

What Relates to all the chords:

Try A Minor Pentatonic & Blues over all the chords. This would probably be the first choice for most blues players as the minor notes over the major type chords give that real bluesy sound and feeling.

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

Try A Dorian over all the chords. Dorian works great in I-IV-V major key blues jams. The Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both. Where Major Pentatonic may be a bit too sweet sounding in this jam, Dorian works great.

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. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6^th note:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. So to play A Dorian ask what major scales 2^nd note is an A note. The answer is G. G major has the same notes as A Dorian:

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.)

A Dorian is the same as G major, (A Dorian=G major). So play all your G major scales but start on and emphasize the A notes. Resolve to and focus on those A notes and you have A Dorian. Remember to keep going to back those A notes and make that the tonal center.

Also try mixing A Minor Pentatonic and A Dorian over all the chords. Notice the refreshing sounds going back and fourth between the five-note pentatonic scale and the seven-note Dorian mode.

Treat each chord like a separate event:

• This jam is a 12-bar blues so you have ample time on each chord to treat each chord as a separate event.
• 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 the Dorian mode over each chord. Play A Dorian, (=G major), over the A chord. Play D Dorian, (=C major), over the D chord. Play E Dorian, (=D major) over the E chord.

This track is a 12-bar blues i-iv-v progression. This one is very slow tempo wise and is in the key of D minor. We have a bluesy 12-bar pattern, but this one is in minor key, or leans toward minor key as the chords do not have 3rds in them. Each chord here is played with the root or 1, 5th, and b7th. But put all together in this progression there is more of a minor sound than major.

So this is an interesting jam as we really have to analyze and study the chords to get the complete solo picture. We have to go by sound and use our discretion as the chords do not have that tell tale 3rd in them. Often that is how we tell the difference between a minor chord and major chord, by examining the third.

Major chords will have major 3rds, and minor chords will have b3rds. A major chord is made of the intervals 1,3,5 and a minor chord is made of the intervals 1,b3,5.

What Relates to all the chords:

As stated above, we lean more toward minor key in this jam and in fact if you try some Major Pentatonic or Mixolydian mode you will hear a few notes clash as those solo avenues are just too “sweet” sounding over these chord changes. Again, you must use your discretion. Try some of these and feel free to experiment and get creative:

D Minor Pentatonic & Blues over all the chords. Since this is a i-iv-v blues progression Minor Pentatonic & Blues exudes that killer bluesy sound and is often the first choice for soloing over all the chords.

D Minor Pentatonic & Blues = D, F, G, Ab, A, C

Try D Dorian over all the chords. I like the Dorian mode here more than the Aeolian mode because each chord slides up a whole step to the 6th of each chord. For example on the D chord when it slides up, the high note slides up to a B note. That change is very prominent. The B note is in the D Dorian scale as it is the 6^th. The corresponding note in the D Aeolian scale would be a Bb or flat 6th. Because it is a prominent note, you could use Aeolian and steer around it, but I suggest going with Dorian to be safe.

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. Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. There is only one note difference between Dorian and Aeolian – the 6^th note:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Aeolian Mode = 1, 2, b3, 4, 5, b6, b7

Remember that Dorian is the second mode in any major key. To play D Dorian in this jam we have to ask what major scales 2^nd note is a D note. The answer is C. C major has the same notes as D Dorian:

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

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

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

So try playing all your C Major scales but start on and emphasize the D notes and you will be playing in D Dorian. Give it a try and get creative. If you want to learn more about modal playing, major scales, and Dorian please see the written lessons in this series.

Try mixing D Minor Pentatonic & Blues as well as D Dorian over all the chords for some cool tones.
Cool sounds can be created by switching from the 5-note pentatonic scales to the 7-note Dorian scales. Fun stuff, give it a try and keep on rocking!

Treat each chord like a separate event:

Slow tempo jams like this one are excellent to play over each chord independently. You have a lot of time on each chord before the change happens. Try some of these suggestions and remember that this technique of treating each chord as a separate event takes some time to develop. So be patient and it will come with time and practice.

• Try moving Minor Pentatonic & Blues scales over each chord. This is a fun one to try as you get some cool combinations of sounds and intervals. Play D Minor Pentatonic & Blues over the D chord. Then play G Minor Pentatonic & Blues over the G chord. And then try A Minor Pentatonic & Blues over the A chord. Listen how each pentatonic outlines the chordal movements.
• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with slides to the 6th of each chord, Dorian again is a perfect choice as that interval is in the Dorian mode:

Dorian Mode = 1,2,b3,4,5,6,b7

• Play D Dorian, (=C major), over the D chord. Then play G Dorian, (=F major), over the G chord. And finally try A Dorian, (=G major), over the A chord.

Really listen for the chord changes and be sure to change scales appropriately as the changes happen. Go slow at first and be patient. Remember……….your playing is an evolution!

This jam is in the key of E and it’s a I-IV-V 12-Bar blues progression. E is the I chord, A is the IV chord, and B is the V chord. The turnaround is on the V chord, B. This is a very standard blues progression that you probably have heard many times. Know the sounds of these rhythms, as when you hear them it will automatically trigger certain soloing avenues.

The first thing to note about this jam is that it is a major I-IV-V blues progression. Even though the chords used are 5th chords, which only have roots and fifths, they are still considered major in this progression. They are embellished with the 6^th intervals. Soon you will get used to hearing these I-IV-V blues type progressions and will able to identify them immediately.

These very common blues progressions, shuffles, and swings will point you toward very definite lead guitar avenues. These are wide open for many different soloing options.

What Relates to all the chords:

There are many have avenues here so a lot will depend on your playing style and what type of mood or sound you want to create. Try some of these:

For that bluesy minor sound try E Minor Pentatonic & Blues over all the chords. Minor Pentatonic & Blues sounds great over major key blues progressions:

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

For that sweet major sound try E Major Pentatonic over all the chords. Remember that for any major key jam you can use Major Pentatonic over all the chords This will give you that sweet major bluesy sound that is quite different than the above minor sound:

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

E Major Pentatonic is the same as C# Minor Pentatonic. E Major and C# Minor are relative major and minor and contain the same notes:

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

C# Minor Pentatonic = C#, E, F#, G#, B

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

If you think more in terms of Minor Pentatonic or just know those shapes then play all your C# Minor Pentatonic scales, but start on and emphasize the E notes and it will be E Major Pentatonic and have that real major happy sweet sound.

Try E 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. Dorian is considered more of a minor mode, but works great over major key I-IV-V blues, swings, and shuffle progressions.

Dorian has the minor elements in it (b3, b7) but also has some major elements, (2nd, 6th). So in these blues progressions the Dorian mode will give you that hybrid kind of minor/major sounds as it combines the elements of both minor and major.

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Dorian is the 2nd mode in any major key. To determine E Dorian ask what major scales’ 2nd note is an E? The answer is D. So E Dorian is the same as D major:

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

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

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

To play in E Dorian just play all your D major scales but start on and emphasize the E notes. Try resolving your licks focusing on those D notes to bring out that minor Dorian tonality.

Try mixing E Minor Pentatonic & Blues, E Major Pentatonic , as well as E Dorian over all the chords for some killer sounds. Notice how going back and forth from the five note pentatonics to the seven note diatonic scales can be quite refreshing.

Treat each chord like a separate event:

In this jam the chords are moving pretty slow so you have a lot of time on each chord. This is perfect 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.

Try moving Minor Pentatonic & Blues over each chord. Play E Minor Pentatonic & Blues over the E chord and then try A Minor Pentatonic & Blues over the A chord, and then B Minor Pentatonic & Blues over the B chord.

Try moving Major Pentatonic scales over each chord. Play E Major Pentatonic over the E chord, and then try A Major Pentatonic over the A chord and B Major Pentatonic over the B chord.

Try mixing up the above Minor Pentatonic and Major Pentatonic over each chord. This is a very cool technique that many blues players like BB King often utilize.

Play E Major Pentatonic over the E chord and then switch to E Minor Pentatonic & Blues over the A chord. Then try Major Pentatonic over the B 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 Minor Pentatonic & Blues over the B chord. Try it out and get creative with it!

Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th and b7th off the E and A chords, Dorian again is a perfect choice as those intervals are in the Dorian mode, (1,2,b3,4,5,6,b7).

Play E Dorian, (=D major), over the E chord, A Dorian, (=G major), over the A chord and B Dorian, (=A major), over the B chord. Get creative and get lost in the track!

Here we have a cool bluesy minor key jam. It’s a minor key i-iv-v 12-bar blues. With 12-bar progressions you have a lot of time on each chord. This is a perfect scenario for treating each chord as a separate event.

This jam is in the key of B minor using all minor chords, Bm-Em-F#m, and an F#7#9 chord used in the turnaround. Treat the 7#9 chord like a minor chord if soloing over just that chord.

What Relates to all the chords:

Try B Minor Pentatonic & Blues over all the chords. We instantly know since we are in minor key, with no major V chord, we can solo with Minor Pentatonic & Blues scales over all the chords. Those scales relate to all. So whether we are playing over the Bm chord, the Em chord, or the F#m chord we can play B minor Pentatonic & Blues scales all day long over all the chords.

B Minor Pentatonic & Blues: B, D, E, F, F#, A

Also, you can usually solo with a minor mode over all the chords when soloing in minor key. That mode is usually either Aeolian or Dorian and to find out which you have to analyze the chords.

If we analyze the chords 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 “relate to all”.

If you are not familiar with Natural Minor you can use the concept of major vs. relative minor and 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 scales:

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.

Also try mixing both B Aeolian and B Minor Pentatonic & Blues over all the chords for some killer sounds. Go back and forth between both and notice the difference in sound between the five note minor pentatonic and the seven note Dorian.

Treat each chord like a separate event:

• Over just the Bm chord try B Minor Pentatonic & Blues, B Aeolian, B Dorian, or B minor type arpeggios.
• Over just the Em chord try E Minor Pentatonic & Blues, E Aeolian, E Dorian or E Minor type arpeggios.
• Over just the F#m chord try F# Minor Pentatonic & Blues, F# Aeolian, F# Dorian or F# minor type arpeggios.

This track is a major key I-IV-V 12-bar slow blues with the fast change to the IV chord. This jam utilizes 9th chords. Dominant 7th and 9th chords are very common in the blues.

This is a slower tempo blues jam so you have a long time on each chord. This is a perfect track for treating each chord as a separate event. You should hear that identifiable major key 12-bar I-IV-V pattern that alerts you to a wide-open jam. As well as soon as you hear 9th chords, consider using the Mixolydian mode over each chord.

What Relates to all the chords:

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 A Dorian.

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:

• Switch Pentatonic scales over each chord. So over the A chord try A Minor Pentatonic & Blues or A Major Pentatonic. Then over the D chord try D Minor Pentatonic & Blues or D Major Pentatonic. And over the E chord try E Minor Pentatonic & Blues or E Major Pentatonic.
• Try playing the Mixolydian mode over each chord. Mixolydian is the fifth mode of the major scale and is only one note different than the major scale. Mixolydian adds the b7th:

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

Major Scale – 1, 2, 3, 4, 5, 6, 7

(Very similar scales – just one note difference.)

Mixolydian works great over 9th chords as there is the b7 interval in the 9th chord, (1,3,5,b7,9). That b7 interval is also in the Mixolydian mode (1,2,3,4,5,6,b7).

• Over the A9 chord try A Mixolydian (=D Major).
• Over the D9 chord try D Mixolydian (=G Major).
• Over the E9 chord try E Mixolydian (=A Major).
• Try mixing Minor Pentatonic and Major Pentatonic over each chord. 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 with the jam!

This jam is a traditional I-IV-V 12-bar blues in the key of G and has many soloing options. Like many blues jams this one starts off on the V chord. This jam features a pinky embellishment on each chord adding the 6th to each chord. This is a very traditional blues rhythm device.

This is a variation on the 12-bar pattern that you may not be used to. It is a different 12-bar pattern than the most of the other 12-bar jams in this vault, but it is a common pattern used in the blues. So be careful when soloing over each chord independently on this track.

First you want to become familiar with the pattern or number of measures on each chord. I suggest playing the rhythm a few times until you feel comfortable with this 12-bar pattern.

What Relates to all the chords:

Since this is a major I-IV-V blues progression Minor Pentatonic & Blues will exude killer bluesy sounds and will often be the first choice for many blues players. Try G Minor Pentatonic & Blues over all the chords as those scales relate to all.

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

Try G Major Pentatonic over all the chords. Major Pentatonic will give you that sweet major bluesy sound. Remember that for most any major key jam you can use Major Pentatonic over all the chords. Major Pentatonic relates to all in this jam:

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

G Major Pentatonic is the same as E Minor Pentatonic. G major and E minor are relative major and minor. If you think more in terms of Minor Pentatonic or just know those shapes then play E Minor Pentatonic scales, but start on and emphasize the G notes and it will be G Major Pentatonic and have that sweet major happy sound.

By shifting those scales to the root, G, 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.

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.)

Try G 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. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice as that is a key interval is in the mode:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Since Dorian is the second mode in any major key, to play G Dorian ask what major scales 2^nd note is a G note. The answer is F. F Major has the same notes as 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.)

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 for that killer Dorian tonality.

Also try mixing G Minor Pentatonic & Blues, G Major Pentatonic, and G 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 this 12-bar pattern there is not as much time on each chord as the other 12-bar patterns in this vault. But there is enough time on each chord to quickly treat each chord as a separate event. Just time your changes over each chord and really listen to the rhythm to ensure you don’t get caught playing the wrong scale over the wrong chord.

Try moving Pentatonics over each chord. Over the G chord play G Minor Pentatonic & Blues or G Major Pentatonic. Over the C chord play C Minor Pentatonic & Blues or C Major Pentatonic. Over the D chord play D Minor Pentatonic & Blues or D Major Pentatonic

Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice for each chord as that is a key interval in the mode, (1,2,b3,4,5,6,b7). Play G Dorian, (=F major), over the G chord. Play C Dorian, (=Bb major), over the C chord. Play D Dorian, (=C major) over the D chord. Time your changes and experiment and see what sounds you like over the chord changes. Rock it out and enjoy!

Here is a very traditional standard I-IV-V 12-bar blues in the key of C. It has that unmistakable 12-bar blues common rhythmic pattern. As soon as you hear this pattern it should kick off in your head that this is a standard I-IV-V blues jam and that there will be many soloing options.

Like many blues jams this one starts off on the V chord. That is a very common blues device, “let’s take it from the V”. This jam features a pinky embellishment on each chord that adds the 6th interval. That is a very common traditional embellishment in blues rhythms.

What Relates to all the chords:

Try C Minor Pentatonic & Blues over all the chords. Since this is a major 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

Try C Major Pentatonic over all the chords. Major Pentatonic will give you that sweet major bluesy sound. Remember that for most any major key jam you can use Major Pentatonic over all the chords.

Major Pentatonic relates to all in this jam.

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.

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.
And we 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 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 2^nd 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, 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 this 12-bar blues jam there is enough time on each chord to treat each chord as 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 C Minor Pentatonic & Blues over the C chord, F Minor Pentatonic & Blues over the F chord, and G Minor Pentatonic & Blues over the G chord.
• Try moving Major Pentatonic over each chord. Play C Major Pentatonic over the C chord, F Major Pentatonic over the F chord, and G Major Pentatonic over the G chord.
• Try moving the Dorian mode over each chord. Because the rhythm of this jam is embellished with the 6th, Dorian again is a perfect choice as that is a key interval is in the mode:

Dorian Mode = 1, 2, b3, 4, 5, 6, b7

Play C Dorian, (=Bb major), over the C chord. Then play F Dorian, (=Eb major), over the F chord. And then try G Dorian, (=F major), over the G chord. Listen for the chord changes and change your mode as the chords change. Experiment and remember that this device takes time to get proficient. It will get better and quicker over time. Keep practicing the technique with jam tracks and in different keys.